In the fourteenth century the Old Occitan language shifted into Middle Occitan. Early in the century poets such as Rostanh Berenguier (Poem 118) wrote in the manner of the troubadours. A new group also emerged known as the School of Toulouse, whose poetry was mostly religious; definitely written, not oral; read, not sung; and transmitted in manuscripts distinct from the troubadour chansonniers. One of these new poets was Arnaut Vidal, perhaps a graduate in law, whose poem in praise of the Virgin won the first competition organized by the Consistori de la Gaia Sciensa (Poem 120). The most prolific member of this school was the priest and friar Raimon de Cornet (Poems 123 and 124). We have included two anonymous poems, one a Hebrew piyut, or liturgical song (Poem 121), and the other an apparently autobiographical account of the sufferings of an Occitan poet who was afflicted with leprosy (Poem 122). The Italian connection, dating from Sordel and Guido Cavalcanti in the thirteenth century, continued with Dante's fictional encounter with the shade of Arnaut Daniel in Purgatory (Poem 119), and culminated in Petrarch's mutation of Occitan poetry into Italian (Poems 125 and 126).