Laude: Selected Spiritual Poems
Laude
Catalogue updated 2026-06-08
Full Sub Rosa translationRead the full translationOpen reader →Open the chapter reader with the full English translation, source text, notes, and scripture echoes.What is Laude: Selected Spiritual Poems?
This reader presents fifteen complete Umbrian laude selected from Jacopone da Todi’s much larger vernacular corpus. The poems arose across the later thirteenth and opening years of the fourteenth century within the performative culture of lay confraternities and Franciscan preaching.
O Iubilo del core, che fai cantar d’amore.
Our renderingO jubilation of the heart, you make one sing of love.
What it is
This reader presents fifteen complete Umbrian laude selected from Jacopone da Todi’s much larger vernacular corpus. The poems arose across the later thirteenth and opening years of the fourteenth century within the performative culture of lay confraternities and Franciscan preaching. Their range is deliberately volatile: ecstatic love breaks into song, Lady Poverty overturns worldly lordship, the Passion becomes dramatic lament, and holy folly exposes respectable prudence. Other pieces attack ecclesiastical corruption or register Jacopone’s support for the Spiritual Franciscans and the Colonna against Boniface VIII, a conflict that led to his excommunication and imprisonment. Attribution must remain collection-specific: roughly ninety laude are generally accepted as his, while additional poems are disputed. This selection follows Giovanni Ferri’s 1910 edition, itself based on the Florentine printing of 1490, rather than claiming to reproduce a complete modern critical corpus. The Anjou-Naples label is contextual only: Jacopone worked in Umbria and papal politics, not at the Angevin court, and no commission, ownership, recipient, or patronage link to that dynasty is documented.
Why it still matters
Jacopone offers Christian readers an unusually unsheltered encounter with divine love: jubilant, wounded, socially disruptive, and inseparable from the Cross. His poems also test whether poverty, institutional criticism, and apparent folly can become forms of faithful witness.
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Kept alongside
Selected Letters of Catherine of Siena
Lettere
Dictated during the 1370s, Catherine of Siena’s letters turn the formulas of Tuscan correspondence into forceful spiritual direction. This reader presents ten complete letters from the Tommaseo text reissued by Piero Misciattelli in 1922, chiefly to her mother Lapa, her brothers, and other private recipients. Their counsel on self-knowledge, patience, family duty, and conversion is domestic in occasion but continuous with the voice that admonished popes and rulers. The wider corpus contains 382 letters conventionally dated 1370–1380, including letters to Joanna I of Naples and Charles V of France. Those documented addressees justify the Anjou-Naples and Valois labels for the corpus, but neither monarch appears among these ten selections, and the connection does not imply patronage. Catherine dictated the letters to secretaries; no autograph corpus survives, and later manuscript collections passed through copyists and differing editorial arrangements. Scholarship nevertheless regards the collection as substantially authentic while allowing for the verbal variation inherent in dictation and transmission.
Pseudo-Augustine Soliloquia animae ad Deum (Meditations of the Soul to God)
Soliloquia animae ad Deum / Meditationes
The Soliloquia animae ad Deum is a widely circulated anthology of pseudo-Augustinian devotional prayers — interior dialogues between the soul and God — that served as the direct textual source for the Sant'Agostino Estense, the personal illuminated prayer book commissioned by Ercole I d'Este in 1482. The full manuscript title, 'Orationes ex Meditationibus et ex Soliloquiis Divi Patris Augustini,' confirms the text used. Among the most frequently copied devotional compilations of the medieval West, the Soliloquia survives in at least eighty-four Latin manuscripts and draws extensively on the Confessions, the genuine Soliloquia of Augustine, and related Augustinian material, though it is not itself by Augustine. The Este court's commission of an illuminated version for Ercole's private use represents a documented and characteristic act of aristocratic lay devotion.
Obsecro te (I Beseech You)
The Obsecro te ('I beseech you') is one of the two universal private Marian prayers found in virtually every medieval Book of Hours produced for noble or royal women across western Europe, making it the single most widely owned personal Marian prayer of the entire period. The feminine grammatical forms in the prayer allowed scribes to identify the manuscript's female patron, and its opening illumination almost invariably depicted that woman kneeling in intimate address before the Virgin and Child, personalizing the prayer to a degree no other devotional text achieved. This direct invocation of Mary—citing her joy at the Annunciation, her grief at the Crucifixion, and her power of intercession at the hour of death—gave it a comprehensiveness that made it the first prayer many noble women turned to in private devotion. It is documented in the Books of Hours of Anne of Brittany, Catherine of Cleves, and Isabella Stuart, among many hundreds of other surviving manuscripts.