This paper analyses two eight-line stanza poems, the "Primo cantare dell'India" and the "Secondo cantare dell'India", composed by Giuliano Dati (1445-1524), a Florentine canon close to Alexander VI. Dati was active mainly in Rome and published his poems within the context of the "Gonfalone" and "Divino Amore" confraternities. The texts aim to achieve a performativity of the sacred that combines devotional, pedagogical, and political purposes, presenting the pontiff as "dominus orbis" and guarantor of religious and social order. The paper will focus particularly on the similarities between Dati's poems and the model of devotional theatricality promoted in the Florentine Dominican milieu by Antonio Pierozzi (1389-1459), in which the performativity of the sacred is configured as a pastoral tool for shaping consciences and regulating social behaviour. Through highly visual narrative strategies, doctrinal simplification geared towards collective enjoyment, and the pedagogical use of emotion, Dati's poems participate in a religious culture that aims to engage a broad audience. From this perspective, the "Primo" and "Secondo cantare dell'India" emerge as hybrid forms of sacred performance that promote processes of religious inclusion and access to theological knowledge while contributing to the reproduction of social roles, behavioural models and asymmetries of authority. This analysis will demonstrate how the textual, oral and visual performativity of these texts fits into the ambivalent dynamics of the mitigation and production of inequalities that characterized religious practices in late medieval and early modern Europe.