Jacopone da Todi

Jacopone of Todi O.F.M.
Jacopone da Todi in a portrait by Paolo Uccello
Born	Jacopo dei Benedetti c. 1230 Todi, Umbria, Papal States
Died	25 December 1306 Collazzone, Umbria, Papal States
Venerated in	Order of Friars Minor & Todi, Perugia, Italy
Major shrine	Church of San Fortunato, Todi, Perugia, Italy

Jacopone da Todi O.F.M. (c. 1230 – 25 December 1306) was an Italian Franciscan friar from Umbria. He wrote several laude (songs in praise of the Lord) in the local vernacular. He was an early pioneer in Italian theatre, being one of the earliest scholars who dramatised Gospel subjects.

Life

Born Jacopo dei Benedetti, he was a member of a minor noble family. He studied law in Bologna and became a successful lawyer. At some point in his late 20s, he married a young noblewoman, Vanna di Bernardino di Guidone, who according to some accounts, was a pious and generous woman. Due to his reputation as a worldly and greedy man, she took it upon herself to mortify her flesh in atonement for his behavior.

Not long after their wedding, Benedetti urged his wife to attend a public tournament. In the course of the spectacle, she was killed when part of the stand in which she was sitting gave way. Rushing to her side, he discovered that she had been wearing a hairshirt. The shock of his wife's death and the evidence of her secret penance made such an impression on him that he abandoned his profession and became a Franciscan tertiary.

Benedetti gave up his legal practice, gave away all his possessions and from about 1268 lived as a wandering ascetic, joining the Third Order of St. Francis. During this period, he gained a reputation as a madman, due to his eccentric behavior, acting out his spiritual vision, earning him the nickname he was to embrace of Jacopone. Examples of this behavior included appearing in the public square of Todi, wearing a saddle and crawling on all fours. On another occasion, he appeared at a wedding in his brother's house, tarred and feathered from head to toe.

After about ten years of this life, Benedetti sought admission to the Friars Minor, but they were reluctant to accept him due to his reputation. He soon composed a beautiful poem on the vanities of the world, which led to his admission into the Order in 1278. He chose to live as a lay brother.

By this time, two broad factions had arisen in the Franciscan Order, one with a more lenient, less mystical attitude and one being more severe, preaching absolute poverty and penitence (known as the "Spirituals" or Fraticelli). Benedetti believed that the friars’ engagement with the University of Paris undermined the concepts of humilitas and simplicitas. He was connected with the latter group and in 1294 they sent a deputation to Pope Celestine V to ask permission to live separately from the other friars and to observe the Franciscan Rule in its perfection. The request was granted but Celestine resigned the papacy before action was taken and was succeeded by Pope Boniface VIII, who opposed the more rigorous views.

During the struggle that followed, Benedetti publicized the Spirituals' cause by writing verses highly critical of their opponents, the pope included. When two brother-cardinals, the Colonnas, sided with the Spirituals and with the king of France against Pope Boniface, and Benedetti gave his support to the Colonnas, politics and even war entered upon the scene. The pope excommunicated them. A battle between the two rival parties ensued, ending with the siege of Palestrina and the imprisonment and excommunication of Benedetti in 1298. He was freed in 1303 upon the death of Boniface, having been specifically excluded from the Jubilee Year of 1300 by papal bull.

Broken and in poor health, Benedetti retired to Collazzone, a small town situated on a hill between Perugia and Todi, where he was cared for by a community of Poor Clares. His condition deteriorated toward the end of 1306, and he sent word requesting that his old friend, John of La Verna, come to give him the last rites. John arrived on Christmas Eve and comforted him, as he died about midnight.

Benedetti's body was originally buried in the monastery church. In 1433 his grave was discovered and his remains transferred to a crypt in the Franciscan Church of San Fortunato in Todi.

Poetry

Benedetti's satirical and denunciatory Laude witness to the troubled times of the warring city-states of northern Italy and the material and spiritual crisis that accompanied them. The laude are written in his native Umbrian dialect and represent the popular poetry of the region. Many hundreds of manuscripts attest to the broad popularity of his poems in many contexts - although anonymous poems are often attributed to him by the tradition. Other laude extol the spiritual value of poverty.

Some of his laude were especially in use among the so-called Laudesi and the Flagellants, who sang them in the towns, along the roads, in their confraternities and in sacred dramatical representations. With hindsight, the use of the laude may be seen as an early seed of Italian drama that came to fruition in later centuries.

The Latin poem Stabat Mater Dolorosa is generally attributed to Benedetti, although this has been disputed. It is a fine example of religious lyric in the Franciscan tradition. It was inserted into the Roman Missal and Breviary in 1727 for the Feast of the Seven Sorrows of the Blessed Virgin Mary, celebrated on the Friday before Good Friday. Following changes by Pope Pius XII, it now appears on the Feast of Our Lady's Sorrows celebrated on 15 September. Many composers have set it to music, including Josquin des Prez, Giovanni Palestrina, Alessandro Scarlatti, Domenico Scarlatti, Giovanni Battista Pergolesi, Gioacchino Rossini, Toivo Kuula, Antonín Dvořák and Ernő Dohnányi.

Veneration

From the time of his death, Benedetti was considered to have been a saint by his followers, both within and outside of the Franciscan Order. He is honored as Blessed within the Order.

Several attempts were made over the centuries to have the Catholic Church recognize his sanctity. In the 17th century, both the City Council and the cathedral chapter of Todi petitioned the Holy See to do so. In the 19th century, the Postulator for the causes of saints of the Order of Friars Minor collected documents for this step.

To date, however, the church has never formally approved this devotion. One possible reason for this may be the conflict between Benedetti and Pope Boniface VIII.

Legacy

Benedetti was steadfast in condemning corruption, especially through his satirical Italian poems. Benedetti would not recant his position on the requirement of ascetic poverty, believing that the mainstream church had become corrupt and that its ministers were not interested in the welfare of the poor. It was a time of famine and poverty in Italy and many mystics and preachers like Gioacchino da Fiore anticipated the end of the world and the coming of Christ. They also said kings and clergy had become too attached to material goods and too interested in their personal wars rather than the welfare of the country.

Benedetti's preaching attracted many enthusiasts.

See also

• Christian mystics
• Christian poetry
• Saint Francis of Assisi

From the 1913 Catholic Encyclopedia

Jacopone da Todi — (Properly called JACOPO BENEDICTI or BENEDETTI).

Franciscan poet, born at Todi in the first half of the thirteenth century; died at Collazzone about 1306. Very little is known with certainty about the life of this extraordinary man. Although the oldest lives go back only to the fifteenth century, yet a few earlier records exist. The oldest and most authentic document we have is Jacopone's signature to the manifesto of Cardinals Jacopo and Pietro Colonna against Boniface VIII, dated Lunghezza (between Rome and Tivoli), 10 May, 1297. [See text in "Archiv für Litteratur and Kirchengesch.", V (1889), 509 sq.] Angelo Clareno in his "Chronica septem Tribulationum", written about 1323 ["Archiv f. Litt. u. Kirchengesch.", II (1886), 308; Döllinger, "Beitrage zur Sektengesch.", II (Munich, 1890), 492], mentions Jacobus Tudertus among those spiritual friars who, in 1294, sent a deputation to Celestine V (q.v.), to ask permission to live separate from the other friars and observe the Franciscan Rule in its perfection - a request which was granted. The next reference to the poet is found in Alvarus Pelagius's "De Planctu Ecclesiae", written principally in 1330; he quotes two of Jacopone's sayings (lib. II, cc. lxxiii and lxxvi; ed. Venice, 1560, f. 196 r b, and f. 204 r b), and calls him a perfect Friar Minor. This passage occurs also in "Chronica XXIV generalium" ("Analecta Franciscana", III, Quaracchi, 1897, 460), which was compiled in great part before 1369 and completed in 1374. About 1335 the "Catalogus sanctorum Fratrum Minorum" (in "Speculum Vitae beati Francisci et Sociorum eius", Venice, 1504, f. 200 r; cf. the separate reprint of the "Catalogus" by Lemmens, Rome, 1903, 9) uses even more emphatic words of praise. Some further details about Jacopone are given by Bartholomew of Pisa in 1385 ["Liber conformitatum" (ed. Milan, 1510), fructus VIII, pars ii, f. 60 v a to f. 61 v a; cf. "Analecta Franciscana", IV (Quaracchi, 1906), 235-40]. It may be taken for granted that all these writers knew nothing of the detailed lives of Jacopone which appear in the fifteenth century. The "Chronica XXIV generalium" and Bartholomew of Pisa would certainly have inserted one or other, as they were wont to do in other cases. Those lives can all be reduced to one, inserted in the chronicle commonly called "Franceschina", attributed to Jacopo Oddi, O.F.M. (d. 1488; see bibliography). The historical value of this and similar lives has been recntly denied by Giulio Bertoni ("La Leggenda Jacoponica" in "Fanfulla della Domenica", Rome, 10 June, 1906), on the ground that this legend has too many points of resemblance with the "Legends of St. Francis". But these resemblancs between the lives of the saints have already become a commonplace, and in this case are not to be taken seriously. On the other hand, Bertoni is right in rejecting the description of the circumstances in which each poem of Jacopone was written. The part of his life is rather to be considered as a commentary on the poems of Jacopone. As to the real sources of his life, the author himself, in the Tobler version (see bibliography), points out that he has collected the reminiscences and traditions concerning Jacopone still extant among the older friars in the Umbrian converts of his epoch.

With the help of the aforesaid sources and of some allusions in Jacopone's poems, we can gather the following facts of his life. Born at Todi (1228?), of the noble family of Benedetti, Jacopone took up the study of law — probably at Bologna, as might be inferred from the fact that this was the most famous school of law at the time, and from the manner in which he speaks of Bologna in the poem "Senno me pare e cortesia" (Modio, "I Cantici del B. Jacopone da Todi", Rome, 1558, 109). On returning home, he exercised — the legends say with some avarice — the profession of an advocate (procuratore). In course of time (1267?) he married a noblewoman, who in one version of the legend is called Vanna, daughter of Bernardino, Count of Collemedio (Coldimezzo near Todi) (La Verna, IV, 1906, 386). It was the great piety and the tragical death of his young spouse that brought about an entire change in Jacopone. A great feast was being celebrated at Todi — probably in 1268. Among the onlookers was Jacopone's wife in rich array. Suddenly the raised platform from which she was witnessing the spectacle gave way, crushing her fatally. When the poet reached her side Vanna was already dying; on opening her dress, he found a hair cloth beneath the splendid robes. The terrible blow caused by his wife's death, together with the evidence of her secret penance for his sins, made such an impression on Jacopone that for many years he seemed to be no longer himself. Abandoning his profession, and wearing the habit of a Franciscan Tertiary (bizochone), he led a roaming life for a full decade (see the poem "Que farai fra Jacopone" in Modio, 73). During this period he was the terror of his friends and relations, and became a sort of Christian Diogenes. It was then probably that the former proud doctor of law, Jacopo dei Benedetti, mocked and scoffed at by the boys in the streets of Todi, received the nickname of Jacopone. Once, saddled and bridled like an ass, he crawled on all fours in the public swuare of Todi; on another occasion, to the great confusion of his family, he appeared at a wedding in his brother's house, tarred and feathered from top to toe. When asked by a citizen to carry home a pair of capons for him, Jacopone brought them to the man's family tomb, saying that this was his true house. Jacopone's folly was however the folly of the Cross, as he says:

Senno me pare e cortesia

Empazir per lo bel Messia.

(A wise and courteous choice he'd make

Who'd be a fool for the dear Lord's sake.)

About 1278 he sought admission into the Order of Friars Minor at his native town, a request which after some difficuly was granted. Out of humility he chose to be a lay brother. In the great convent of S. Fortunato, at Todi, the so-called party of the "Community" of the Franciscan Order certainly prevailed. This party was strongly opposed to that of the more zealous friars, called the "Spirituals". The sympathies of Jacopone were with the latter. Boniface VIII, who had under unusual circumstances succeeded Celestine V, the friend of Spirituals, having recalled all privileges granted by his predecessor and thus subjected anew the zealous friars to their regular superiors, and having engaged in a struggle with the two Cardinals Colonna, Jacopone took sides with these two protectors of the Spirituals against the pope. Perhaps there were also personal reasons for enmity between Boniface and the poet, dating from the time when the former, then a young man (1260), obtained an ecclesiastical benefice at Todi, where his uncle Peter was bishop from 1252 to 1276 (see Eubel, "Hierarchia cath. med. aevi", I, 530; Tosti, "Storia di Bonifazio VIII", Monte Cassino, I, 1846, 221; Finke, "Aus den Tagen Bonifaz VIII", Münster, 1902, 4). Palestrina, the stronghold of the Colonnas, having been taken in 1298 by the papal troops, Jacopone was imprisoned in the fortress above the town, known to-day as Castel San Pietro. Some of Jacopone's most touching, and also most agressive, poems were composed in this dungeon. Not even in the great Jubilee of 1300 did Jacopone obtain pardon, the Colonnas and their partisans having been excluded from the Jubilee by a special Bull (see text in Tosti, l.c., II, 283). Boniface VIII was captured at Anagni on 7 Sept., 1303, and upon his death, which occured shortly afterwards (11 Oct.), Jacopone was set at liberty. Now an old man, broken down, tried and purified by hardships, he withdrew first to Pantanelli, a hermitage on the Tiber, three hours distant from Orvieto (La Verna, l. c., 390), then to Collazzone, a small town situated on a hill between Perugia and Todi. There is no record of a Franciscan monastery at that place, but there was a Poor Clare Convent, S. Lorenzo, served as was usual by Franciscan Friars (see Livarius Oliger, "Dove e morto il B. Jacopone da Todi?" in "Voce di S. Antonio", Quaracchi, 13 Feb., 1907). It was here that Jacopone died on 25 Dec., 1306, just at the moment when the priest was intoning the Gloria in Excelsis Deo at the midnight Mass; his last moments were consoled by the presence of his faithful friend, Blessed John of La Verna, from whom he had especially desired to receive the Last Sacraments, and who really arrived just before the poet's death.

His body was brought to Todi and buried in the church of the Poor Clares of Montecristo (Tobler's version of the legend) or Montesanto (Bartholomew of Pisa, Marianus Florentinus), outside the walls of Todi. In 1433 it was discovered in Montecristo and removed to the Franciscan church of S. Fortunato inside the town, where his tomb is still to be seen, embellished by Bishop Cesi in 1596 and adorned by a beautiful inscription: "Ossa. Beati Jacoponi. De Benedictis. Tudertini. Fratris Ordinis Minorum. Qui stultus propter Christum. Nova mundum arte delusit. Et caelum rapuit. Obdormivit in Domino. Die XXV Martii. An. Dom. MCCXCVI. Ang. Caes. Episc. Tudert. Hic collocavit ann. MDXCVI." "Here lie the bones of Blessed Jacopone dei Benedetti da Todi, Friar Minor, who, having gone mad with love of Christ, by a new artifice deceived the world and took Heaven by violence...

(translation of Knox Little.) The date, 25 March, 1296, is however obviously erroneous. Jacopone is often called blessed, and has been considered a "blessed" or a "saint", in the technical sense of the words, by different authors. As a matter of fact, Jacopone has not been beatified or canonized by the Church, although various efforts have been made in this direction — for example, by the municipal council of Todi in 1628, and by the chapter of the cathedral of Todi in 1676. Lastly, in the years 1868 and 1869 the postulator of the causes of saints of the Friars Minor collected call the documents proving the cultus ab immemorabili paid to Jacopone, in order to obtain its official confirmation [see "Tudertina Confirmationis Cultus ab immemorabili tempore praestiti Jacobo a Tuderto Ord. Min. S. Francisci, Beato Jacopone vulgo nuncupato (Rome, 1869), in archives of the postulator general O.F.M.]. The chief obstacle to the confirmation of the cultus lies in the part Jacopone took against Boniface VIII and the satires he wrote against this much calumniated pope.

The iconography of Jacopone is not very rich. In the cathedral of Prato is a beautiful fifteenth-century fresco, often reproduced. The fourteenth-century Codex Strozzi 174 at the Laurentian Library, Florence, containts a miniature of the poet; another miniature (certainly conventional) is found in the "Franceschina" of the Portiuncula. The church of S. Fortunato of Todi is adorned by two picture of Jacopone — one over his tomb (1596), another in a side chapel together with the portraits of four other saints (seventeenth century). Jacopone was believed to have died not so much from bodily ailment as from the excess of Divine love, which at last broke his heart (Modio, preface). The chief interest attaching to Jacopone is derived from his literary works. Of his poems, written almost all in his native Umbrian dialect, seven early editions exist but no modern critical one.

• The first is printed at Florence, 1490. It is almost a critical edition and contains 102 Italian pieces. [See accurate description in "Miscellanea Francescana", I (Foligno, 1886), 21-29.] The other editons are:

• Brescia, 1495, containing (in addition to compositions of other poets) 122 poems, of which seven are in Latin;

• Venice, 1514 — 139 songs;

• Venice, 1556 - repetition of the preceding;

• Rome, 1558 — by Modio, with life of Jacopone in the preface, best edition after that of 1490, which it follows in the number of poems (102);

• Naples, 1615 — reprint of the Roman edition with slight alterations;

• Venice, 1617 — by Francesco Tresatti, O.F.M. — the best known by least critical edition, containing 211 copiously annotated songs, many of which certainly do not belong to Jacopone.

Alessandro de Mortara published a few hitherto unedited poems of Jacopone (Lucca, 1819). Towards the middle of the nineteenth century, Ozanam revived general interest in Jacopone by his "Poètes franciscains". Since then many have written on the subject and expressed their appreciation of these medieval songs. Jacopone was certainly a true poet, so much so that some of his productions, as "In foco l'amor mi mise" and "Amor di caritate", have been attributed to St. Francis himself. Both are at the head of Umbrian poets. Jacopone's rhymes, simple, at times even rough in expression, but profound and tender in sentiment, were less adapted to the cultured classes than the "Divina Commedia" of Dante, but were sung with enthusiasm by the people. How much Jacopone's poetry was appreciated down to the seventeenth century is shown by the numberless manuscripts which contain them, often in the particular dialect of the region where they were written, and by the fact that almost every old Italian spiritual song has been ascribed to him. These laudi were especially in use among the so-called Laudesi and the Flagellants, who sang them in the towns, along the roads, in their confraternities, and in sacred dramatical representations. Even the "Stabat Mater Dolorosa", the authorship of which is still attributed to Jacopone with greater probability than to any other competitor (Gihr), was sung in the same way. (See, on this point, D'Ancona, "Origini del Teatro Italiano", I, Turin, 1891, 114, 155-62, 550- 2.) Jacopone's prose works are much less generally known than his poems. They consist mainly of small spiritual treatises, somewhat resembling the well-known golden saying of Blessed Giles (see AEGIDIUS OF ASSISI), but they are more connected. The Latin text of these may be found in part in Bartholomew of Pisa (l. c.) and in many manuscripts. An Italian version, translated from Bartholomew of Pisa, is found in the "Franceschina" and some other versions of the life of Jacopone. Another fifteenth century Italian version, ascribed to Feo Belcari, together with the treatises of Ugo Panciera at Venice (s. d.); ed. Parenti at Modena in 1832; and finally in "Prose di Feo Belcari edite ed inedite", III (Rome, 1843), by Gigli; cf. E. Böhmer in "Romanische Studien", I (Halle, 1871), 123-32. Finke (l. c.) suspects that a treatise in the MS. J 491, no. 799, in the National Archives of Paris, and directed to the King of France by "Illiteratus Jacob", belongs to Jacopone.

Notes

(1) LIVES. - In Franceschina, a manuscript chronicle by JACOPO ODDI (d. 1488), of which four codices exist: two at Perugia, one at Portiuncula (Assisi), one at Norcia (Umbria). Description of the one existing in the public library at Perugia is given by PERCOPO, La Vita e le Laudi di Fra Jacopone da Todi nello Specchio de l'Ordene Menore (Franceschina) in Il Propugnatore, XIX (bologna, 1886), 151-212. Almost identical with this is the life edited by TOBLER in Zeitschrift fur romanische Philologie, II (Halle, 1878), 26-39; cf. ibid., III (1879), 178-92; and another of MARIANO FLORENTINO (?), edited by LIVARIUS OLIGER in Luce e Amore, IV (Florence; 1907), 418-26; 473-89. There is also a shorter version: POSSEVINO, Vite de' Santi e Beati di Todi (Perugia, 1597), 98-113; MODIO, I Cantici del B. Jacopone da Todi (Rome 1558), preface; DAL GAL, La Verna (Rocca S. Casiano, 1906), 385-92; JACOBILLI, Vite de Santi e Beati dell' Umbria, III (Foligno, 1661), 215-19; WADDING, Annales, V (2nd ed.) 407-14, VI, 77-84. (2) MODERN LIVES AND TREATISES. - MACDONNELL, Sons of Francis (London 1902), 354-86, with good samples of translations of Jacopone's poetry - see also, ibid., 401-2; ANON., Jacopone da Todi in Quarterly Review (London, Jan., 1910), 53-72; DORSEY, The Mad Penitent of Todi (Notre Dame, Ind., s. d.) (a novel); OZANAM, Les Poetes franciscains en Italie au treizieme siecle (Paris, 1852), many successive editions - German tr. by JULIUS (Munster, 1853), Italian tr. by FANFANI (Prato, 1854); D'ANCONA, Jacopone da Todi, il Giullare di Dio del secolo XIII in Nuova Antologia, 2nd series, LI of the whole collection (Rome, 1880), 193-228, 438-70, reprinted in D'ANCONA, Studi della Letteratura italiana dei primi secoli (Ancona, 1884), 3-104; THODE, Franz von Assisi und die Anfange der Kunst der Renaissance in Italien (2nd ed., Berlin, 1904), 440-51; GEBHART, L'Italie mystique (Paris, 1890), 257- 70; ALVI, Jacopone da Todi (Todi, 1906) - full of inaccuracies, see Voce di San Antonio, XII (Rome, 1907), 19-20; BRUGNOLI, Fra Jacopone da Todi, publication of Societa internazionale di Studi Francescani in Assisi (Assisi, 1907). (3) ON WORKS AND PARTICULAR QUESTIONS. - BOHMER, Jacopone da Todi... in Romanische Studien, I (Halle, 1871), 123-61; MOSCHETTI, I Codici Marciai contenenti Laude di Jacopone da Todi (Venice, 1888); TENNERONI, Inizii di antiche Poesie italiane religiose e morali con prospetto dei Codici che le contengono e Introduzione alle Laudi spirituali (Florence, 1909), preparatory work for critical edition of Jacopone. Partial German translation of Jacopone's poetry, with good introduction: SCHLUTTER AND STORK, Ausgewahlte Gedichte Jacopone's da Todi (Munster, 1864); FELDER, Jacopones Marienminne (Stans, 1903), Franch tr. La Madonne dans les Poesies de Jacopone de Todi in Etudes Franciscaines (Couvin, Belgium, March and April, 1904); LATINI, Dante e Jacopone e loro contatti di pensiero e di forma (Todi, 1900). On the Stabat Mater Dolorosa see JULIAN, Dictionary of Hymnology (2nd impression of 2nd ed., London, 1908), 1081-84, where the numerous English translations, old and new, are indicated; see, ibid., 575 and passim; CHEVALIER, Repertorium Hymnologicum, II (Louvain, 1892), 599-600, with copious bibliography; HENRY, The Two Stabats in American Cath. Quarterly Review, XXVIII (1903); GIHR, Die Sequenzen des römischen Messbuches (Freiburg im Br., 1887), 80-130; TENNERONI, Lo Stabat Mater e Donna del Paradiso (Todi, 1887); COLARULLI, La Satira, "O Papa Bonifatio, molt ay jocato al mondo", e la Sequenza "Stabat Mater" di Fra Jacopone da Todi (Todi, 1906); MARINI, L'Estetica dello Stabat Mater (Siena, 1897); GIOIA, LO "Stabat Mater Speciosa" di Jacopone da Todi (Rome, 1892); GHILARDI Il B. Jacopone da Todi e la sua prigionia in Luce e Amore, III (Florence, 1906), 931-36.

Bibliography

• Novati, Francesco (1925). Freschi e minii del Dugento. Milan: Cogliatti. pp. 202–204.
• Sapegno, Natalino (1926). Santo Jacopone. Turin: Edizioni del Baretti. p. 30.
• Giudice, Aldo; Bruni, Giovanni (1981). Problemi e scrittori della letteratura italiana. Turin: Paravia.
• Lachance, P. (2003). "Jacopone da Todi". New Catholic Encyclopedia. Vol. 15: Hol–Jub (2 ed.). Detroit: Thomson Gale. pp. 692–3.

• Venuti, Lawrence. Translation Changes Everything. Routledge, 2012. Chapter 4: Translating Jacopone da Todi: archaic poetries and modern audiences.

External links

• Ageno Brambilla, Franca (1966). "BENEDETTI, Iacopo". Dizionario Biografico degli Italiani (in Italian). Vol. 8: Bellucci–Beregan. Rome: Istituto dell'Enciclopedia Italiana. ISBN 978-88-12-00032-6.
• Works by Jacopone da Todi at Project Gutenberg
• Works by or about Jacopone da Todi at the Internet Archive
• Works by Jacopone da Todi at LibriVox (public domain audiobooks)
• Underhill, Evelyn. Jacopone da Todi, Poet and Mystic, J.M. Dent & Sons Ltd, London, 1919