This article offers a perspective on the phenomenon of medieval mental pilgrimage, the issues of which are expressed through the image of a trace. To illustrate the image and the paradox of the physical / spiritual, the “Revelaciones” (“Revelations,” 14th century) by St. Birgitta, a Swedish visionary and pilgrim, and “Evagatorium in Terrae Sanctae, Arabiae et Egypti peregrinationem” (“Pilgrimage to the Holy Land, Arabia, and Egypt,” 1480 and 1483–1484) by Felix Fabri, a Dominican monk, historian and preacher of the Ulm convent, are examined. Within both works, the image of a trace belongs simultaneously to the physical and mental dimensions of pilgrimage: these are, on the one hand, the “holy and joyful” traces guided by Felix Fabri in the rules for pilgrims, an on the other hand, the trace left by Christ before the crucifixion and later perceived as a miracle by the Dominican monk, as well as the material from which the pilgrim’s paths in the visions of St. Birgitta should be composed. Pilgrims, traveling to holy sites, or ‘loca sancta’, not only seek to deepen their own knowledge about them but also, by leaving their own traces, aim to gather the previously scattered traces of other righteous individuals. The image of a trace allows for a functionally important parallel between the roles of a visionary and a pilgrim. The conclusion of this article affirms the existence of a centuries-old cycle in the development of locorum sanctorum, their fundamentally open nature to change by the pilgrim, considering the phenomenon of the influence of bodily pilgrimage on mental pilgrimage, and the interference where the second perspective responds to loca sancta. This demonstrates the importance at a structural level of the image of the trace, as if melting the place of pilgrimage – a point rightly appreciated by Felix Fabri. The realization of this image turns out to be evidence of the mediatorial nature of the pilgrim: retrospective reference to the “Revelaciones” of St. Birgitta after familiarization with Felix Fabri’s narrative of “Evagatorium” reveals common patterns across different pilgrimage narratives.