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The '''{{lang|fr|Très Riches Heures du Duc de Berry|italic=no}}''' ({{IPA-fr|tʁɛ ʁiʃz‿œʁ dy dyk də beʁi}}; {{lang-en|'''The Very Rich Hours of the Duke of Berry'''}}<ref>{{cite web|author1=Melissa Snell|title=Les Très Riches Heures du Duc de Berry|url=https://www.thoughtco.com/les-tres-riches-heures-du-duc-de-berry-1788415|website=ThoughtCo.com|access-date=14 October 2017|quote=(literally: "the very rich hours of the duke of Berry")}}</ref>), or '''{{lang|fr|Très Riches Heures|italic=no}}''', is an [[illuminated manuscript]] that was created between {{circa|1412}} and 1416. It is considered a [[book of hours]], which is a type of [[Christians|Christian]] devotional book or a collection of prayers that was said at [[canonical hours]]. The manuscript was created for [[John, Duke of Berry]], the brother of [[Charles V of France|King Charles V]] of France, by [[Limbourg brothers]] Paul, Johan and Herman.<ref name="Manion308">Manion 1996, p. 308.</ref> The book is now kept at MS 65 in the [[Musée Condé]], [[Chantilly, Oise|Chantilly]], France.
Consisting of a total of 206 leaves of very fine quality [[parchment]],<ref name="Manion308" /> {{cvt|30|cm}} in height by {{cvt|21.5|cm|frac=2}} in width, the manuscript contains 66 large [[Miniature (illuminated manuscript)|miniatures]] and 65 small. The design of the book, which is long and complex, has undergone many changes and reversals. Many artists contributed to its miniatures, calligraphy, initials, and marginal decorations, but determining their precise number and identity remains a matter of debate. Painted largely by artists from the [[Low Countries]], often using rare and costly pigments and gold,<ref name="UChicago">{{cite web |url=http://humanities.uchicago.edu/images/heures/heures.html |title=Très Riches Heures du Duc de Berry |access-date=2009-01-23 |url-status=dead |archive-url=https://web.archive.org/web/20060610070441/http://humanities.uchicago.edu/images/heures/heures.html |archive-date=June 10, 2006 }}; originally published at humanities.uchicago.edu.</ref> and with an unusually large number of illustrations, the book is one of the most lavish late medieval illuminated manuscripts. The work was created in the late artistic phase of the [[International Gothic]] style.▼
When the Limbourg brothers and their sponsor died in 1416 (possibly victims of [[Plague (disease)|plague]]) the manuscript was left unfinished. It was further embellished in the 1440s by an anonymous painter, who many art historians believe was [[Barthélemy d'Eyck]]. In 1485–1489, it was brought to its present state by the painter [[Jean Colombe]] on behalf of the [[Duke of Savoy]]. It was acquired by the [[Henri d'Orléans, Duke of Aumale|Duc d'Aumale]] in 1856.▼
▲When the Limbourg brothers and their sponsor died in 1416 (possibly victims of [[Plague (disease)|plague]]) the manuscript was left unfinished. It was further
▲Consisting of a total of 206 leaves of very fine quality [[parchment]],<ref name=Manion308/> {{cvt|30|cm}} in height by {{cvt|21.5|cm|frac=2}} in width, the manuscript contains 66 large [[Miniature (illuminated manuscript)|miniatures]] and 65 small. The design of the book, which is long and complex, has undergone many changes and reversals. Many artists contributed to its miniatures, calligraphy, initials, and marginal decorations, but determining their precise number and identity remains a matter of debate. Painted largely by artists from the [[Low Countries]], often using rare and costly pigments and gold,<ref name=UChicago>{{cite web |url=http://humanities.uchicago.edu/images/heures/heures.html |title=Très Riches Heures du Duc de Berry |access-date=2009-01-23 |url-status=dead |archive-url=https://web.archive.org/web/20060610070441/http://humanities.uchicago.edu/images/heures/heures.html |archive-date=June 10, 2006 }}; originally published at humanities.uchicago.edu.</ref> and with an unusually large number of illustrations, the book is one of the most lavish late medieval illuminated manuscripts. The work was created in the late artistic phase of the [[International Gothic]] style.
After three centuries in obscurity, the Très Riches Heures gained wide recognition in the late nineteenth and twentieth centuries, despite having only very limited public exposure at the Musée Condé. Its miniatures helped to shape an ideal image of the Middle Ages in the collective imagination, often being interpreted to serve political and nationalist agendas.<ref name="Camille, throughout">Camille, throughout</ref> This is particularly true for the calendar images, which are the most commonly reproduced. They offer vivid representations of [[peasants]] performing agricultural work as well as [[Aristocracy (class)|aristocrats]] in formal attire, against a background of remarkable medieval architecture.
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