Of these seven sources it appears to us that (_c_) and (_f_)--the short _De humana natura_ of Constantine, and the five-figure series--are those on which Hildegard drew. The absence of Arabisms and the scarcity of technical anatomical terms in her writings, her failure to distinguish between veins and arteries, the absence of anything of the nature of myology or osteology, together with the neglect of the spinal marrow as an important organ, make it very unlikely that she consulted Constantine’s longer works or the Salernitan authorities or the text of the five-figure series. Her anatomical descriptions resemble those of Constantine’s shorter work, on the other hand, in the description of the three vesicles of the brain and their relations to the faculties of the mind, in the treatment of the five senses, in the view of the influence of the planets on the child and the emphasis laid on epilepsy, as well as in the absence of any distinction between arteries and veins, and in the loose doctrines of the humours and of the causes of deformities and monstrosities. In some of these respects also her account of the human body presents points of resemblance to the _De hominis membris ac partibus_ of Hugh of St. Victor,[102] with whom, however, her contact appears to be less close than with Constantine. We may infer that Hildegard had consulted anatomical diagrams and was accustomed to this method of representing the organs from a passage descriptive of the microcosm, in which she says that ‘in the mouth of the figure in whose body was the disk, I saw a light brighter than the light of day, in the form of threads, some circular, some in other geometrical forms, and some shaped like human members belonging to the figure, which was clearly portrayed on the disk upright and accurately limned’.[103] These ‘circles and geometrical figures’ fairly describe the highly diagrammatic manner in which the five-figure series represents the internal organs, and several points suggest that she does indeed refer to this series. Her description of the abdominal muscles (_umbilicus_) ‘covering the viscera like a cap’, her general descriptions of the vessels (_venae_) and the muscles, and especially her account of the vessels of the leg and of the intimate relations of the main _venae_ to the organ of hearing, fits in perfectly with the form of these remarkable diagrams (Plate XVIII). We here render some of the most important of her general anatomical descriptions: ‘The humours may pass to the liver, where wisdom is tested, having been already tempered in the brain by the strength of the spirit, and having absorbed its moisture so that now it is plump, strong, and healthy.