The Lady Poverty: A XIII. Century AllegoryGiovanni, da Parma
Religion
The Lady Poverty: A XIII. Century Allegory
Giovanni, da Parma
Francis, of Assisi, Saint, 1182-1226; Poverty -- Religious aspects -- Catholic Church
XIX. How the Lady Poverty sorrowed
over certain Religious who were
poor in the World, and yet more
prone than others to Self-indulgence
in Religion 99
XX. How the Lady Poverty showed the
Blessed Francis the Perfect Walk
in the Religious Life 107
XXI. How the Blessed Francis made
answer to the Lady Poverty 114
XXII. How the Lady Poverty gave her
consent 118
XXIII. How the Blessed Francis thanked
God for the consent of the Lady
Poverty 119
XXIV. Of the Sojourn of My Lady Poverty
with the Brothers 121
XXV. How My Lady Poverty blessed the
Brothers, exhorting them to persevere
in the Grace which they
had received 130
On the Spiritual Significance of
Evangelical Poverty, by Father
Cuthbert, O.S.F.C 141
APPENDICES--
I. A Prayer of the Blessed Francis to
obtain Holy Poverty 183
II. Paradiso. Canto XI. (lines 28-123) 200
INTRODUCTION
EDITIONS
The “Sacrum Commercium” is an Allegory, simple in form and charming in
conception, telling how St Francis wooed and won that most difficult
of all Brides, my Lady Poverty. It was written some time in the
thirteenth century (most probably in the year 1227) by an unknown
Franciscan, and has been six times printed, thrice in Latin, and
thrice in Italian.
{The Latin Editions.} The first Latin edition was printed at Milan in
1539. It is of exceeding rarity, and has escaped the vigilance of
Brunet and Græsse. Père François Van Ortroy, the noted Bollandist
(whom few things escape), was the first to call attention to a copy in
the Ambrosian Library, and it is the only copy known to exist. (See
“Analecta Bollandiana,” xix. 460.)
The second Latin edition was published nearly 400 years later, in 1894,
under the editorship of Professor Edoardo Alvisi, in the “Collezione
di Opuscoli Danteschi inediti o rari diretta da G. L. Passerini.”[1]
Professor Alvisi’s edition has no pretensions to being critical: his
sole object in publishing it was to supply an illustration to part
of Canto XI. of the “Paradiso.” This edition has, perhaps justly,
been decried for its entire want of critical apparatus, but it at
least served to call attention to a gem that had hitherto slumbered
uncared-for in parchment Codexes.
Public-domain text, read in full here on John Shaqi.
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