El Libro d'Ore de la Virgen Tejedora

Book of Hours of the Weaving Virgin

The codex, in a perfect state of conservation, is named after the miniature on folio 91, portraying the Virgin Mary while weaving.

It is a book of hours, a collection of prayers for the use of believers. Its extraordinary miniatures, the same as in the original copy dated 1452, make it an example of the refined French style of the 15th century.

The manuscript was realised with extreme care for details, particularly with regards to its illustrations and miniatures. The pigments were purified through the skilled craftsmanship techniques adopted. Texts are in gothic font and each folio is enriched with wide frame decorations. The volume contains 15 full page miniatures,each one at the start of a moment of prayer as an introduction to the chapter. The commentary by Eliza Ruiz García and the scientific opinion of Francois Avril, have allowed us to situate this exquisite work at an atelier in Paris, in the mid-1400s, the golden age of the Franco-Flemish miniatures.

This work is different from the conventional Books of Hours, as they usually feature the most typical prayers, such as office for the dead, for intercessions and penitential Psalms. The Book of Hours of the Weaving Virgin also contains the canonical “Obsecro Te” (I beseech you) and “O intemerata” (Oh Immaculate Virgin), the Hours of the Cross, the Hours of the Holy Spirit and a wide collection of intercessions. These prayers are for laypeople, and are therefore different from the ones used to celebrate Mass – they are indeed longer and demanding to read during function.

The original manuscript is kept at the Fundación Lázaro Galdiano in Madrid, inv. 15452.

Patrimoni d’Arte is the only certified seller of this artwork in Italy.

Limited edition of 995 notarised volumes.


The Book of Hours of the Weaving Virgin is an illuminated codex, containing 178 folios (356 pages).

Format:144 mm x 197 mm (5,7 in x 7,7 in), decorated in miniature and gold leaf.

Origin: France, approx. 1450.

Paper: parchment-dressed and aged, hand sewn with plant fibre twine, according to the Renaissance technique.

Binding: leather with a velvet case.

Commentary: by Eliza Ruiz García.

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