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 prioress; and "Loving Kindness" is the sub-prioress. "Hope" is the chantress, filled with holy, humble devotion, that the heart's feebleness may sound beautiful in song before God, so that God may love the notes that sing in the heart; "Wisdom" is the schoolmistress, who with all good-will teaches the ignorant, so that the convent is held holy and honoured; "Bounty" is the cellaress; "Mercy" the stewardess; and "Pity" the sick-nurse. The provost, or priest, is "Godly Obedience," to whom all these virtues are subject. "Thus does the convent abide in God, and happy are they who dwell therein."

From this spiritual abode of the virtues we turn to one of Mechthild's earliest recorded visions—that of Hell, with its flame and flare. Whilst Death was perhaps man's first mystery, the Hereafter has been his endless pre-occupation. Whatever his country or his time, he has ever sought to lift the veil which hides the future, portraying his vain efforts in symbol. In Mechthild's time her world was engrossed with thoughts and speculations concerning the Hereafter, for Death, which at the end of the next century was to take dramatic and pictorial form in the weird and all-embracing "Dance of Death," although its earliest known poetic form is of 1160, ever hovered near in pestilence, war, and tumult. Whilst some expressed themselves in carved stone, or on painted wall, others, as did Mechthild, realised their