Of Thomas’s purely poetical works, besides a few hortatory poems and anagrams on the names of the saints, there were known until recently sixteen _Cantica Spiritualia_, to wit: _Adversa mundi tolera_, _Agnetis Christi virginis_, _Ama Jesum cum Agnete_, _Ave florens rosa_, _Christe Redemptor omnium, Vere salus_, _Christe sanctorum gloria, Et piorum_, _Cives coeli attendite_, _En virginis Caeciliae_, _Gaude, mater Ecclesia, De praecursoris_, _Jesu Salvador seculi_, _O dulcissime Jesu_, _O Jesu mi dulcissime, Spes et solamen_, _O qualis quantaque laetitia_, _O vera summa Trinitas_, _Tota vita Jesu Christi_, _Vitam Jesu stude imitari_. In 1882 Father O. A. Spitzen found in a manuscript in Zwolle ten other _Cantica Spiritualia_, which he published that year as the work of Thomas à Kempis, to wit: _Angelorum si haberem_, _Creaturarum omnium merita_, _Cum sub cruce sedet moerens_, _Jerusalem gloriosa_, _Mirum est si non lugeat_, _Nec quisquam oculis vidit_, _O quid laudis, quis honoris_, _Quanta Mihi cura de te_, _Serve meus noli metuere_, _Ubi modo est Jesus, ubi est Maria_. Six of these had already appeared in Mone’s collection, and credited to a fifteenth century manuscript found at Carlsruhe, a fact which does not militate against Spitzen’s view of their authorship. The latter found them along with the hymns generally ascribed to Thomas in a MS. which had belonged to the brother-house in Zwolle, and had been written in the latter half of that century, probably between 1477 and 1483. Most of them bear the ear-marks of Thomas’s style, and have a congruity with the matter of his works which lends probability to Father Spitzen’s conjecture. Of all these hymns two only have attained any recognition as contributions to the sacred songs of Christendom. These two are the _Adversa mundi tolera_, which is rather an exhortation in the tone of the _Imitation_ than a hymn; and the _O qualis quantaque laetitia_, better known, through the general omission of its first verse, as the _Adstant angelorum chori_.