1649. Weakened by years of privatation, Crashaw died in Loreto of a fever on 21 August 1649. There were suspicions that Crashaw was poisoned, possibly by his enemies in Pallotta's entourage. Crashaw was buried in the lady chapel of the shrine at Loreto. Poetry Writing and publication history Three collections of Crashaw's poetry were published during his lifetime and one small volume posthumously—three years after his death. The posthumous collection, Carmen Del Nostro, included 33 poems. For his first collection of poems, Crashaw turned to the epigrams composed during his schooling, assembling these efforts to form the core of his first book, Epigrammatum Sacrorum Liber (trans. "A Book of Sacred Epigrams"), published in 1634. Among its well-known lines is Crashaw's observation on the miracle of turning water into wine (): Nympha pudica Deum vidit, et erubuit, often translated as "the modest water saw its God, and blushed". For instance, this quatrain, titled Dominus apud suos vilis from the collection, was based on a passage from the Gospel of Luke: Crashaw's epigram (1634) III. En consanguinei! Patriis en exul in oris Christus! et haud alibi tam peregrinus erat. Qui socio demum pendebat sanguine latro, O consanguineus quam fuit ille magis. Clement Barksdale's translation (1873) III. See, O Kinsman, what strange thing is this! Christ in's own country a great stranger is. The thief which bled upon the Cross with Thee Was more ally'd in consanguinity. A literal translation III. Behold kinsmen! He who was an exile in his homeland— The Christ, who was as a stranger there and not so elsewhere. He, the thief who bled at the end, hanging with him— Oh!—he was closer a blood relation. Themes Crashaw's work has as its focus the devotional pursuit of divine love. According to literary historian Maureen Sabine, his poems "reveal new springs of tenderness as he became absorbed in a Laudian theology of love, in the religious philanthropy practiced by his Pembroke master, Benjamin Laney, and preached by his tutor, John Tournay, and in the passionate poetic study of the Virgin Mother and Christ Child". Sabine asserts that as a result of his Marian devotion and Catholic sensibilities, "In expressing his Christian love for all men, even the archenemy of his father and most English Protestants, Crashaw began to feel what it was like for Christ to be a stranger in his own land." He depicts women, most notably the Virgin