Complete, in remarkable condition, and with a beautiful binding à la dentelle, this Book of Hours is a little gem for several reasons. First, and which is extremely rare, the Book of Hours bears the signature of its scribe: "per fr[atr]em Joh[an]em Fracigen[is] ordi[ni]s mi[n]or[um]" (by brother Jean de France of the Order of Friars Minor) as well as the date when he finished writing the present Book of Hours: "anno do[mini] m° cccc° lxxxxiiij°. Die Va Martij" (March 5, 1494). Additionally, the Book of Hours features a unique series of prayers written in Italian, reflecting its highly personalized nature. Undoubtedly, this Book of Hours was created for a patron.ess with a particular attachment to the Franciscan movement, which is aligning with a general trend in late 15th century. Finally, the choice of simple and effective, yet richly decorated ornamentations, notably through the generous use of liquid gold, showcases the remarkable scribe’s work that focuses almost more on calligraphy than illumination. This was undoubtedly a choice, illustrating that the manuscript was more precious for its spiritual value rather than its material value.

The scribe, Johannes Francigena (Jean de France), is associated with the Franciscan order and is currently only known through this Book of Hours. His first name (Johannes), very common, and his surname (Francigena) indicating his origin (France), make it challenging to determine if he can be identified with another documented Johannes Francigena. However, there is a Johannes Francigena documented in Rome in 1481 working as a printer. Even though this printer could be our scribe, this identification remains purely hypothetical. It would indeed be unusual to transition from printer to scribe, as the trend at the end of the 15th century was generally the reverse, with printed books quickly surpassing illuminated manuscripts. The French origin of the scribe is also interesting in terms of who originally commissioned this magnificent Book of Hours. Despite the partially erased coat of arms appearing on folio 13, the exact identity of the first owner of the manuscript remains unknown (based on what can still be read, the coat of arms shows: bandé d’argent (?) et de gueules, au chef d’argent (?) chargé d’un meuble effacé et soutenu par une bande de gueules). One hypothesis could link the first owner of our Book of Hours to a member of the Orsini family, lords of Nola and Pitigliano (Italy), known as the Orsini di Nola or Orsini di Pitigliano (their coat of arms: bandé d’argent et de gueules, au chef d’argent chargé d’une rose de gueules boutonnée et soutenue par une bande d’or). Notably, we know that the Orsini family was very close to the Franciscan movement since the 14th century, and it is worth mentioning that Roberto Orsini (1327-1345) built a Franciscan monastery near Napoli. Moreover, this family is related to the Ursins family, well known in France, where the scribe Jean de France might have come into contact with this family (and therefore with the Italian part of that same family). In the 19th century, the Book of Hours came into the hands of an unidentified cardinal (certainly Italian), who left his coat of arms (possibly fantasized) on the large frontispiece, which he had embellished with a richly illuminated full-page with floral border decorations and a Portrait of the Virgin in a medallion.

The Book of Hours is adorned with several initials illuminated by an anonymous Italian (active in Rome) illuminator. Besides the illuminations of the frontispiece (added in the 19th century), the manuscript contains three large historiated initials and four large decorated initials. All are distinguished by their very vivid typically Italian colors and especially by the thickness of the liquid gold that shines and illuminates both the manuscript itself and the reader. Particularly noteworthy is the beautiful large Annunciation that occupies the letter "D", itself painted in blue and pink, standing out against a very thick gold background.

Material description
Book of Hours (for the use of Rome and Franciscan use); illuminated manuscript on parchment; in Latin and Italian. 142 ff., (fourteen quires, almost all of ten folios, collation: I12, II-XIV10, with catchwords on the last page of each quire) preceded by two vellum leaves, added, preceded and followed by two paper leaves (176 x 122 mm), complete; calligraphy Littera rotunda, black, brown, blue and red ink, liquid gold; one column, ruled for 15 lines; eight illuminations (three large historiated initials, four large decorated initials and one 19th century frontispiece); one folio with illuminated borders on four sides (19th century) and five folios with small marginal decorations. Italian binding in green morocco à la dentelle, with numerous gilt-tooled florals ornaments on boards and in compartments of spine, 19th century (flyleaves and marbled paper pastedowns; front and back). On the spine: "ufficium / mariae virg / membr. ms. / 1494".

TEXT
ff. I-II: two parchment leaves, added (I: blank, II: 19th century frontispiece with illuminations and title "Officium parvum Beata Mariae Virginis juxta ritu, sancte Romanae ecclesiae)
f. 1-12v: Calendar, complete, for the Franciscan use of Rome
f. 13-61v: Hours of the Virgin, complete, for the use of Rome (matines, f. 13; laudes, f. 21; prime, f. 29; tierce, f. 32; sexte, f. 34v; none, f. 37; vespres, f. 39v; compline, f. 44v)
ff. 62-80: Penitential psalms (including litanies, ff. 71v-74v)
ff. 80v-81v: Gospel sequences, according to saint John
ff. 82-82v: Blank
ff. 83-114v: Office of the dead
ff. 115-117v: Hours of the Cross
ff. 118-120v: Hours of the Holy Spirit
ff. 120v-133v: Prayers and office, in Italian
ff. 133v-140v: Prayer, in Latin
ff. 140v: Explicit, signed and dated by the scribe, Johannes Francigena

ILLUMINATIONS
fol. II: 19th century frontispiece with unidentified coat of arms belonging to an Italian cardinal, illuminated borders on four sides and the Portrait of the Virgin in a medallion
f. 13: large 8-lines historiated initial "D" with the Annunciation and a putto holding the initial, and two putti holding the large coat of arms (partially erased), perhaps of a member of the Orsini family
f. 39v: large 7-lines decorated initial "D" with floral ornaments
f. 62: large 8-lines historiated initial "D" with King David praying to God
fol. 71v: large 7-lines decorated initial "K" with floral ornaments
fol. 83: large 8-lines historiated initial "D" with a Hermit holding a rosary and praying to a skull (maybe of Saint Jerome?)
fol. 115: 4-lines decorated initial "D" with a Cross in a landscape
fol. 118: 4-lines decorated initial "D" with the Dove of the Holy Spirit