This page has three parts: Independent Biblical Identification, Cross-Entry Synthesis, and Observation Notes.
01-34 Biblical Resonance Analysis
STAGE ONE — INDEPENDENT BIBLICAL IDENTIFICATION
This entry records the first full out-of-the-body flight with Christ: the divine breath drawing the soul out, the flight through the heavens, the walking with Christ as lovers, the encounter with places of iniquity and Christ’s shared suffering, the bitter liqueur of the sufferings poured into Luisa, and the sweet liqueur of consolation. Four conceptual movements are identifiable.
The First Out-of-Body Experience: The Breath Draws the Soul Out
He sent me a breath from His mouth, which invested all of my soul… I really felt it go out from all parts – from my head, from my hands, and even from my feet. Since it was the first time, I began to say: ‘Now I die, the Lord has come to take me.’ When I saw myself out of the body, the soul had the same feeling of the body – with this difference: the body contains flesh, nerves and bones, while the soul doesn’t; it is a body of light.
John 20:22 — “When he had said this, he breathed on them, and said to them, “Receive the Holy Spirit!” The divine breath “invested all of my soul” corresponds to the Easter-evening breathing: the same breath that gave the Holy Spirit to the disciples draws Luisa’s soul out into the divine presence. The mode of entry into the out-of-the-body experience is Pentecostal in its structure. Christological/Trinitarian.
Genesis 2:7 — “Then the Lord God formed the man of dust from the ground and breathed into his nostrils the breath of life, and the man became a living creature.” The divine breath creating the living soul corresponds to the divine breath that now draws the living soul out: the same creative-breath that formed the first Adam is the breath that temporarily separates Luisa’s soul from her body. Typological.
1 Corinthians 15:44 — “It is sown a natural body; it is raised a spiritual body. There is a natural body and there is also a spiritual body.” “The soul had the same feeling of the body — with this difference: it is a body of light” — Luisa’s description of the soul as a body-of-light corresponds to Paul’s spiritual body: the resurrection body that is continuous in shape and feeling with the natural body but of a different substance. Direct doctrinal parallel.
2 Corinthians 5:1–4 — “the earthly house of our tent is dissolved, we have a building from God, a house not made with hands, eternal, in the heavens. … indeed we who are in this tent do groan, being burdened,” The departure of the soul from the body — experienced initially as death — corresponds to Paul’s “tent” image: the earthly dwelling is left for the building from God, the soul temporarily experiencing what the final departure will accomplish permanently. Direct doctrinal parallel.
The Flight Through the Heavens: Walking as Lovers
Jesus began His flight, and I began mine, after Him; and we went around throughout the whole vault of the heavens… now I would lean my head upon His shoulder, with one arm around His shoulders and the other hand in His hand; now Jesus would lean on me.
Genesis 3:8 — “And they heard the sound of the Lord God walking in the garden in the cool of the day.” “How beautiful it was to stroll together with Jesus” — the divine walking with a human being corresponds to Genesis 3:8: the last time God was described as strolling with a human person was in the Garden. Hogan explicitly names this. The out-of-body flight with Christ is the restoration of the Garden-walk. Typological.
Song of Songs 8:5 — “Who is this who comes up from the wilderness, leaning on her beloved? Beloved Under the apple tree I awakened you. There your mother conceived you. There she was in labor and bore you.” “I would lean my head upon His shoulder, with one arm around His shoulders and the other hand in His hand” — the intimate walking-together corresponds to the Song’s image of the Bride leaning on the Beloved. The flight through the heavens is the celestial form of the wilderness-journey-with-the-Beloved. Affective/meditative.
Micah 6:8 — “He has shown you, O man, what is good. What does the LORD require of you, but to act justly, to love mercy, and to walk humbly with your God?” The walking-with-God corresponds to the prophetic ideal: what Micah names as the creature’s highest calling (walking with God) is here realized in the most literal ecstatic form. Direct doctrinal parallel.
The Places of Iniquity: Leaning, Bitterness, Shared Suffering
Jesus would lean on me, when we reached certain places which were more inundated with iniquity… I could see Him almost faint, and I would say to Him: ‘Lean on me, and let me share in your pains.’ And Jesus would say to me: “My beloved, help Me, for I cannot take any more.” And while saying this, He would draw His lips close to mine, and He would pour such bitterness that I would feel mortal pains.
Psalm 36:9 — “For with you is the spring of life. In your light we will see light.” “I could see more clearly the sufferings of His adorable Heart” — in the out-of-body state, Luisa sees from within the divine light, and thus sees clearly what remains obscured to earthly perception. Hogan cites this. Direct doctrinal parallel.
Isaiah 53:4–5 — “Surely he has borne our sickness and carried our suffering; … he was pierced for our transgressions. He was crushed for our iniquities.” “Jesus would lean on me, when we reached certain places more inundated with iniquity… I could see Him almost faint” — the ongoing Passion of Christ bearing the weight of iniquity corresponds to the Suffering Servant who bears griefs and carries sorrows: the entry shows this as a continuous present reality, not merely a historical past event. Christological/Trinitarian.
Colossians 1:24 — “Now I rejoice in my sufferings for your sake, and fill up on my part that which is lacking of the afflictions of Christ in my flesh for his body’s sake, which is the assembly,” “Lean on me, and let me share in your pains” — Luisa actively participates in Christ’s ongoing suffering for human sin, offering herself as the support for the One who bears that weight. Direct doctrinal parallel.
Lamentations 1:12 — ““Is it nothing to you, all you who pass by? Look, and see if there is any sorrow like my sorrow, which is brought on me, with which the LORD has afflicted me in the day of his fierce anger.” “My beloved, help Me, for I cannot take any more” — the divine cry for help at the extremity of the suffering corresponds to the Lamentations cry: the one who suffers calls to any who will listen, and Luisa alone responds. Affective/meditative.
Hebrews 4:15 — “For we don’t have a high priest who can’t be touched with the feeling of our infirmities, but one who has been in all points tempted like we are, yet without sin.” The visible suffering of Christ “almost fainting” before the iniquities corresponds to the high priest’s empathic solidarity: the divine is not indifferent to human sin but physically affected by it. Christological/Trinitarian.
The Sweet and Bitter Liqueurs: The Consolation After the Suffering
As the soul would go back into the body, it would make the body participate in these sufferings… Jesus would come, He would take me in His arms, He would draw me close to His Heart, and – oh! how I would feel life come back to me. Then, He would pour a most sweet liquor from His lips, and in this way the pains would mitigate.
John 13:25 — “He, leaning back, as he was, on Jesus’ chest, asked him, “Lord, who is it?”” “He would take me in His arms, He would draw me close to His Heart” — the position of the beloved disciple reclining on Christ’s breast at the Last Supper corresponds to Luisa drawn close to the divine Heart. Hogan cites “John 13, 37” but the content corresponds to John 13:25 (the beloved disciple leaning on Jesus). Note the discrepancy. Affective/meditative.
Song of Songs 2:4–5 — “He brought me to the banquet hall. His banner over me is love. Strengthen me with raisins, refresh me with apples; for I am faint with love.” The consoling return — drawn close to the Heart, sweet liqueur poured from the lips — corresponds to the Bride’s sustaining after the sickness of love: the Lord’s consolation restores what the encounter with iniquity depleted. Affective/meditative.
John 19:34 — “However, one of the soldiers pierced his side with a spear, and immediately blood and water came out.” The sweet and bitter liqueurs poured from Christ’s lips ultimately derive from the opened side: the blood and water that flowed from the wounded side are the sacramental form of the double liqueur — the bitter (the suffering shared for sin) and the sweet (the Eucharistic consolation). Christological/Trinitarian.
Revelation 10:9–10 — “I went to the angel, telling him to give me the little book. He said to me, “Take it and eat it. It will make your stomach bitter, but in your mouth it will be as sweet as honey.” I took the little book out of the angel’s hand, and ate it. It was as sweet as honey in my mouth. When I had eaten it, my stomach was made bitter.” The sweet-and-bitter structure of the liqueurs corresponds to the Apocalyptic little scroll: what is sweet (the divine word, the consolation) becomes bitter in the body (the suffering it demands). Typological.
STAGE TWO — COMPARISON WITH HOGAN’S COMMENTARY
CORRESPONDENCES
Genesis 3:8 / God walking with Adam: Hogan cites “Genesis 3, 8” for the walking-together with Jesus — “the last time we heard of God strolling with anybody was in Genesis 3, 8.” Stage One independently identified the same passage. Direct correspondence.
Psalm 36:9 / In your light we see light: Hogan cites “Psalm 36, verse 9” for “I could see more clearly the sufferings of His adorable Heart” — seeing from within the divine light. Stage One independently identified the same passage. Direct correspondence.
John 13 / The beloved disciple on Jesus’ heart: Hogan cites “John 13, 37” for the drawing-close-to-the-Heart moment. Note on Hogan’s citation: John 13:37 reads “Peter said to him, ‘Lord, why can I not follow you now? I will lay down my life for you.‘” The content Hogan describes — the beloved disciple leaning on Jesus — corresponds to John 13:25 (“that disciple, leaning back against Jesus, said to him…”) or John 13:23 (“one of his disciples, whom Jesus loved, was reclining at table at Jesus’ side”). The BRA uses Jn 13:23/25 and notes the discrepancy as citation correction.
DEVIATIONS
John 13:37 → John 13:23/25: Hogan cites Jn 13:37 (Peter’s declaration) but describes content corresponding to Jn 13:23/25 (the beloved disciple reclining on Jesus). Corrected per protocol.
ADDITIONS — MINE
Stage One identified the following not addressed by Hogan:
- 1 Corinthians 15:44 (natural body / spiritual body) for the soul-as-body-of-light description
- 2 Corinthians 5:1–4 (the tent left for the building from God) for the soul’s departure experience
- Song of Songs 8:5 (coming up from the wilderness, leaning on her beloved) for the walking-as-lovers movement
- Micah 6:8 (walk humbly with your God) for the strolling-with-Jesus movement
- Isaiah 53:4–5 (bearing griefs and carrying sorrows) for the iniquity-places suffering
- Colossians 1:24 (filling up what is lacking in Christ’s afflictions) for Luisa’s active participation in the suffering
- Lamentations 1:12 (Is it nothing to you? Look and see my sorrow) for the divine cry for help
- Hebrews 4:15 (a high priest who sympathizes with our weaknesses) for the affected divine presence
- Song of Songs 2:4–5 (sustain me, I am sick with love) for the consoling-return movement
- John 19:34 (blood and water from the opened side) for the sweet/bitter liqueur source
- Revelation 10:9–10 (the little scroll — sweet in the mouth, bitter in the stomach) for the sweet-and-bitter structure
ADDITIONS — HERS
The balance principle for the bedridden life (contextual): Hogan’s pastoral identification — “if she’s to be stuck in that bed, she also must see and hear and experience and get out of bed; if you have sorrow, the Lord makes sure there’s some joy to balance it out” — explains the theological rationale for the out-of-body experiences: they are the divine’s balancing provision for the psychological sustainability of the bedridden life. The implicit scriptural background is 2 Cor 4:17 (the affliction producing an eternal weight of glory) and Phil 4:11 (contentment in every state through the divine provision).
The soul’s shape as identical to the body’s (phenomenological): Hogan’s observation from the near-death-experience tradition — “the soul has exactly the same shape as your body; once you go into the spirit world, you expand, and she said, I had to shrink to fit back into this body” — is a significant theological-phenomenological addition. The implicit scriptural background is 1 Cor 15:44 (the natural and spiritual body) and 2 Cor 5:1–4 (the earthly tent groaning to be clothed with the heavenly dwelling).
The bitter liqueur = specific sins attacking (doctrinal): Hogan’s identification — “these knives, pricks, and arrows that she’s talking about are specific sins that are attacking” — gives the bitter liqueur its precise theological content. The pains are not abstract suffering but the specific injuries that specific sins inflict on the divine Heart. The implicit scriptural background is Isa 53:5 (pierced for our transgressions) and Zech 12:10 (they will look on me, the one they have pierced).
VIP / SPECIAL DESIGNATIONS
Hogan applies no formal VIP designation. Her characterization of the first out-of-body flight as the introduction to the ongoing balance of the bedridden life — “he’s going to take her almost on a daily basis out, all over the world, into the stars, to heaven, to purgatory” — functions as a structural elevation: this entry inaugurates the pattern that will sustain Luisa for 64 years.
STAGE TWO SYNTHESIS
This entry achieves moderate convergence: Gen 3:8, Ps 36:9, and Jn 13:23/25 (correction from 13:37) — three confirmed citations, with one correction. Hogan’s commentary is predominantly pastoral and phenomenological rather than exegetical, explaining why the citation density is lower than recent entries.
Stage One’s major additions supply the full theological architecture: 1 Cor 15:44 and 2 Cor 5:1–4 for the soul-as-body-of-light; Song 8:5 and Mic 6:8 for the walking-as-lovers; Isa 53:4–5, Col 1:24, Lam 1:12, and Heb 4:15 for the iniquity-places suffering; and Jn 19:34 and Rev 10:9–10 for the sweet/bitter liqueur structure.
The dominant biblical imagination: Genesis 3:8 (the restored Garden-walk) as the governing typological frame; Song of Songs (8:5; 2:4–5) for the bridal-intimacy register; and the Suffering Servant tradition (Isa 53:4–5; Lam 1:12; Heb 4:15; Col 1:24) for the iniquity-encounter.
Cross-Entry Synthesis
The First Out-of-Body Experience: The Breath Draws the Soul Out
He sent me a breath from His mouth, which invested all of my soul… the soul had the same feeling of the body — with this difference: it is a body of light.
Hogan does not cite Scripture for this movement but provides the phenomenological context: the comparison with near-death experience tradition, the expansion of the soul in the spirit world, and the balance-rationale for the ongoing out-of-body experiences. Stage One establishes: Jn 20:22 (the divine breath giving the Holy Spirit), Gen 2:7 (the creative breath of life), 1 Cor 15:44 (natural and spiritual body), and 2 Cor 5:1–4 (the soul’s departure from the tent).
Jn 20:22 is the most theologically resonant identification: the same Easter-evening breathing that gave the Holy Spirit to the disciples is the mode by which Christ draws Luisa’s soul out. The out-of-body experience is structurally Pentecostal — it is initiated by the divine breath, not by natural processes or induced pressure. This is the critical distinction Hogan makes between Luisa’s experience and New Age astral projection: the divine initiative, not the creaturely technique, is the differentiating principle.
“The soul is a body of light” is the entry’s most theologically precise anthropological statement. 1 Cor 15:44 provides the doctrinal frame: the spiritual body is continuous in form with the natural body but of a different substance. Hogan’s identification — “the soul goes back to God, who is light; the only two things you can take to heaven are light and love” — is theologically grounded in 1 Jn 1:5 (God is light) and 1 Jn 4:8 (God is love). The soul that is a body of light is returning to the light that is its origin and destination.
The Flight Through the Heavens: Walking as Lovers
We went around throughout the whole vault of the heavens… I would lean my head upon His shoulder, with one arm around His shoulders and the other hand in His hand; now Jesus would lean on me.
Both streams converge on Gen 3:8 (God walking with Adam in the garden) as the primary anchor. Hogan cites it; Stage One confirms independently.
Hogan’s identification is the entry’s most theologically resonant insight: “the last time we heard of God strolling with anybody was in Genesis 3:8.” The out-of-body flight through the heavens is the restoration of what the Fall disrupted — the walking-together between God and the human person in the cool of the day. The bedridden state that appears as imprisonment is revealed as the condition for the restoration of the Garden-walk: Luisa, confined to bed, strolls with Christ through the vault of the heavens.
Stage One adds Song 8:5 (coming up from the wilderness, leaning on her beloved) and Mic 6:8 (walk humbly with your God) for the walking-together dimension. Together with Gen 3:8, these establish that the walking-with-Christ is simultaneously a restoration (Gen 3:8), a bridal fulfillment (Song 8:5), and the realization of the prophetic ideal (Mic 6:8). The celestial flight achieves what the Garden walk promised and what Micah named as the creature’s highest calling.
The intimate walking posture — head on the shoulder, arm around the shoulders, hand in hand — is the most physically described expression of bridal union in the volume. Song 8:5 (“leaning on her beloved”) is the precise scriptural correspondent. The body-of-light that can lean and hold hands is not a spirit without form but the full personal soul in its freed state, capable of the physical-emotional-spiritual intimacy that the bridal tradition names.
The Places of Iniquity: Leaning, Bitterness, Shared Suffering
Jesus would lean on me, when we reached certain places which were more inundated with iniquity… ‘My beloved, help Me, for I cannot take any more.’ And He would pour such bitterness that I would feel mortal pains.
Both streams converge on Ps 36:9 (in your light we see light) for the seeing-from-within-the-divine-light movement. Hogan cites it; Stage One confirms independently. Stage One adds Isa 53:4–5, Col 1:24, Lam 1:12, and Heb 4:15 for the suffering-at-places-of-iniquity movement.
Ps 36:9 establishes the epistemological framework for what Luisa sees in the out-of-body state: she sees “from within the divine light,” which means she perceives human sin from God’s perspective. This is what Hogan illustrates with the Oxford Street / airplane contrast: from within the crowd (creaturely perspective), the problem is overwhelming; from above (divine perspective), it is comprehensible. The out-of-body experiences are not privileges for Luisa’s personal consolation but functional necessities for her intercessory vocation — she must see what she is interceding about from the perspective of the One for whom she intercedes.
The divine cry — “My beloved, help Me, for I cannot take any more” — is the volume’s most acute expression of the divine suffering for human sin. Lam 1:12 (“Is it nothing to you, all you who pass by? Look and see if there is any sorrow like my sorrow”) is the Old Testament form of the same cry: the divine in the position of the suffering servant, calling for a compassionate witness. Entry 033’s beauty-description prepared Luisa (and the reader) to understand the stakes: the One whose beauty is so overwhelming is the One who is now almost fainting under the weight of human iniquity.
Hogan’s doctrinal identification — “these knives, pricks, and arrows are specific sins that are attacking” — is the most theologically significant addition to this movement. The bitter liqueur is not abstract suffering but the specific injuries that specific sins inflict on the divine Heart. This connects the IP-1 arc (the interior Passion as the ongoing reality of Christ’s suffering for sin) with the ES-1 arc (the liqueur as the mode of Eucharistic communication): the same opened side that gives the sweet milk also gives the bitter liqueur of shared Passion-suffering.
IP-1 and ES-1 intersection: Entry 034 is the most explicit intersection of the two tracking items in Volume 1. The bitter liqueur = the specific sins that inflict suffering on the divine Heart (IP-1 content). The sweet liqueur = the consoling divine self-communication that sustains Luisa through the suffering (ES-1 content). Both flow from the same divine source; the bitter precedes the sweet; the sweet enables the next round of bitter.
The Sweet and Bitter Liqueurs: The Consolation After the Suffering
He would take me in His arms, He would draw me close to His Heart, and – oh! how I would feel life come back to me. Then, He would pour a most sweet liquor from His lips, and in this way the pains would mitigate.
Both streams converge on Jn 13:23/25 (the beloved disciple reclining on Jesus’ heart) for the drawing-close-to-the-Heart movement. Hogan’s citation (13:37) is corrected per protocol; the content corresponds to 13:23/25. Stage One adds Song 2:4–5, Jn 19:34, and Rev 10:9–10 for the liqueur structure.
Jn 13:23/25 establishes the beloved-disciple model for the soul drawn to the divine Heart. The beloved disciple who leaned on Christ’s breast at the Last Supper is the prototype for Luisa drawn close to the divine Heart at the extremity of shared suffering: what John experienced in intimacy, Luisa experiences in the aftermath of shared Passion-pain. Both are drawn to the Heart that is simultaneously the source of love and the seat of the suffering.
Jn 19:34 (blood and water from the opened side) provides the deepest theological ground for the sweet/bitter liqueur structure. The blood and water that flowed from the wounded side are the Church’s sacraments (the tradition identifies water with Baptism, blood with the Eucharist); the sweet and bitter liqueurs correspond to the same source. The bitter liqueur = the sharing in Christ’s Passion-pain (blood = the sacrificial suffering); the sweet liqueur = the Eucharistic consolation (water = the cleansing, restoring gift). Both flow from the same divine wound.
Rev 10:9–10 (the little scroll sweet in the mouth and bitter in the stomach) is the Apocalyptic structural parallel: the divine word/gift is sweet at first reception and bitter in its bodily appropriation. The sweet-and-bitter dynamic is not arbitrary but the universal structure of the divine communication to those called to prophetic-intercessory suffering.
Synthesis Conclusion
Dominant biblical imagination: The governing traditions are Genesis 3:8 (the restored Garden-walk) as the typological frame for the celestial flight; the Song of Songs bridal-intimacy tradition (Song 8:5; 2:4–5) for the walking-as-lovers and the consoling return; the Suffering Servant tradition (Isa 53:4–5; Lam 1:12; Heb 4:15) for the iniquity-places encounter; and the Johannine Heart-tradition (Jn 13:23/25; Jn 19:34) for the drawing-close and the liqueur source.
Load-bearing correspondences:
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Genesis 3:8 / Song of Songs 8:5 / Micah 6:8 — The restored Garden-walk as the governing typological frame. Both streams converge on Gen 3:8. Stage One adds Song 8:5 and Mic 6:8. Together they establish that the celestial flight is simultaneously restoration (Gen 3:8 — the God who walked with Adam), bridal fulfillment (Song 8:5 — leaning on the Beloved), and prophetic ideal (Mic 6:8 — walk humbly with your God). The bedridden Luisa paradoxically achieves the fullest form of walking-with-God in the biblical tradition.
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Isaiah 53:4–5 / Colossians 1:24 / Lamentations 1:12 — The ongoing Suffering Servant and Luisa’s active co-suffering. Stage One identifies all three. Together they establish that the places of iniquity and the almost-fainting of Christ are the continuation of the Suffering Servant’s bearing of griefs and carrying of sorrows: what Isaiah prophesied as historical is shown in Entry 034 to be continuous. Luisa’s “lean on me, let me share your pains” is Col 1:24 enacted — the filling up of what is lacking in the afflictions for the sake of the body.
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John 19:34 / Revelation 10:9–10 / John 13:23–25 — The sweet-and-bitter liqueur and the Heart that is their source. Stage One identifies all three. Together they establish the complete theological structure of the liqueur system: both sweet and bitter flow from the opened side (Jn 19:34); the sweet/bitter alternation corresponds to the Apocalyptic scroll structure (Rev 10:9–10); and the drawing-to-the-Heart that precedes the sweet liqueur follows the beloved-disciple pattern (Jn 13:23/25).
No VIP designation was applied by Hogan. Her structural elevation — “this is the introduction to the pattern that will sustain Luisa for 64 years” — identifies the entry as the inaugural instance of the ongoing celestial-flight and liqueur dynamic.
Observation Note
(a) IP-1 and ES-1 reach their most explicit intersection: Entry 034 is the first entry in which the bitter liqueur (IP-1 — the interior Passion communication of specific sins’ injuries) and the sweet liqueur (ES-1 — the Eucharistic sustaining consolation) are explicitly distinguished and paired. Both flow from the same divine source (Jn 19:34); the bitter precedes and the sweet follows. This IP-1/ES-1 pairing should be tracked as the standard operational pattern going forward.
(b) Genesis 3:8 — the restored Garden-walk: Hogan’s identification of Gen 3:8 as the last instance of God walking with a human person before Entry 034 is the entry’s most theologically resonant typological insight. The out-of-body celestial flight is the restoration of the prelapsarian divine-human walking; what the Fall disrupted, the mystical espousal restores.
(c) Citation correction — John 13:37 → John 13:23/25: Per protocol.
Observation Notes
See this note in volume context →
01-34
On Gen 3:8 as the entry’s governing typological anchor: Hogan’s identification that the last recorded divine-human walk was in Genesis 3 is the entry’s most theologically resonant insight. The celestial flight is not a novel mystical privilege but the restoration of the prelapsarian walking-with-God that the Fall interrupted. The bedridden Luisa paradoxically achieves the fullest form of this in the entire biblical tradition.
On IP-1 / ES-1 intersection confirmed: Entry 034 explicitly distinguishes and pairs the bitter liqueur (specific sins injuring the divine Heart — IP-1) and the sweet liqueur (Eucharistic consolation — ES-1). Both flow from Jn 19:34’s opened side. This IP-1/ES-1 pairing is now the operational pattern to track going forward.
On Jn 19:34’s theological significance for ES-1: The blood-and-water from the opened side now provides the deepest theological ground for ES-1. The milk and liqueurs that are ES-1’s phenomenological content flow from the same wound that gives the Church her sacraments. This gives ES-1 a far richer theological depth than “the Lord feeds Luisa miraculously” — it is a participation in the Passion’s sacramental gift.