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Steak and kidney pie

Steak and kidney pie is a popular British dish. It is a savoury pie filled principally with a mixture of diced beef, diced kidney (which may be beef, lamb, veal, or pork) and onion. Its contents are generally similar to those of steak and kidney puddings.

History and ingredients
In modern times the fillings of steak and kidney pies and steak and kidney puddings are generally identical, but until the mid-19th century the norms were steak puddings and kidney pies. Bell's Life in London and Sporting Chronicle, 1826, records a large dish of kidney pies in the window of a baker near Smithfield, and ten years later a kidney-pie stand outside what is now the Old Vic, emitting sparks every time the vendor opened his portable oven to hand a hot kidney pie to a customer.

"Rump Steak and Kidney Pie" was served in a Liverpool restaurant in 1847, and in 1863 a Birmingham establishment offered "Beef Steak and Kidney Pie". But until the 1870s kidney pies are far more frequently mentioned in the newspapers, including one thrown at a policeman during an affray in Knightsbridge in 1862, and an assault case in Lambeth in 1867 when a customer attacked a waitress for bringing her a beef pie instead of a kidney one. By the mid-1870s steak and kidney pies were as often mentioned as kidney ones. Both appeared in verse of the period: You say you are too sad to eat! Just hand your plate and try This steak and kidney pie, my love– This steak and kidney pie. From Fun, 1875 I've eaten as much as a man could eat, I've gone through a very remarkable feat; From the twopenny tart to the kidney pie, I've swallowed as much as I could, have I.                                       From The Zoo (1875), by B. C. Stephenson and Arthur Sullivan According to the cookery writer Jane Grigson, the first published recipe for the combination of steak and kidney was in 1859 in Mrs Beeton's Household Management. Beeton used it in a pudding rather than a pie. She had been sent the recipe by a correspondent in Sussex in south-east England, and Grigson speculates that it was until then a regional dish, unfamiliar to cooks in other parts of Britain.

Beeton suggested that steak and kidney could be "very much enriched" by the addition of mushrooms or oysters. In those days oysters were the cheaper of the two: mushroom cultivation was still in its infancy in Europe and oysters were still commonplace. In the following century Dorothy Hartley (1954) recommended the use of black-gilled mushrooms rather than oysters, because long cooking is "apt to make [oysters] go hard".

Neither Beeton nor Hartley specified the type of animal from which the kidneys were to be used in a steak and kidney recipe. Grigson (1974) calls for either veal or ox kidney, as does Marcus Wareing. Other cooks of modern times have variously specified lamb or sheep kidney (Marguerite Patten, Nigella Lawson and John Torode), ox kidney (Mary Berry, Delia Smith and Hugh Fearnley-Whittingstall), veal kidney (Gordon Ramsay), either pork or lamb (Jamie Oliver), and either ox, lamb or veal kidneys (Gary Rhodes).

Cooking and variations
Some versions are full, or "double-crust", pies, in which the cooking dish is lined with pastry before the meat mixture is added, after which a pastry top is put over it. In other versions the meat is put straight into the dish, with only a pastry lid. In either case, a pie funnel is often used to stop the top crust sinking into the meat mixture during baking. Some recipes call for puff pastry; others for shortcrust. In some the meat is cooked before going into the pie; in others it goes in raw. In addition to the steak and kidney, the filling typically contains carrots and onions, and is cooked in one or more of beef stock, red wine and stout.

The steak and kidney pie is found in numerous regional variants. In the West Country clotted or double cream may be poured into the pie through a hole in the pastry topping just before serving. The Ormidale pie from the Scottish Highlands is flavoured with a teaspoon each of Worcestershire sauce, vinegar and tomato sauce. In East Yorkshire sliced potatoes are substituted for kidneys and the dish is called meat and pot pie. In the English Midlands, Northern England and Scotland oysters or mushrooms or both are often added; in Scotland this variant is known as Musselburgh pie.

Popular culture
Among the various vernacular names for steak and kidney pie are Kate and Sidney pie, snake and kiddy pie, and snake and pygmy pie. Eric Partridge dates the first of these to around 1880. A substantial part of the plot of P. G. Wodehouse's 1963 comic novel Stiff Upper Lip, Jeeves hinges on the disruptive allure of a magnificent steak and kidney pie for a young man whose fiancée has decreed that he must turn vegetarian.

title: Steak and kidney pie


text:
Book of hours

Books of hours (horae) are Christian prayer books, which were used to pray the canonical hours. The use of a book of hours was especially popular in the Middle Ages, and as a result, they are the most common type of surviving medieval illuminated manuscript. Like every manuscript, each manuscript book of hours is unique in one way or another, but most contain a similar collection of texts, prayers and psalms, often with appropriate decorations, for Christian devotion. Illumination or decoration is minimal in many examples, often restricted to decorated capital letters at the start of psalms and other prayers, but books made for wealthy patrons may be extremely lavish, with full-page miniatures. These illustrations would combine picturesque scenes of country life with sacred images.

Books of hours were usually written in Latin (they were largely known by the name horae until "book of hours" was relatively recently applied to them), although there are many entirely or partially written in vernacular European languages, especially Dutch. The closely related primer is occasionally considered synonymous with books of hours – a medieval horae was referred to as a primer in Middle English  –  but their contents and purposes could deviate significantly from the simple recitation of the canonical hours. Tens of thousands of books of hours have survived to the present day, in libraries and private collections throughout the world.

The typical book of hours is an abbreviated form of the breviary, which contains the Divine Office recited in monasteries. It was developed for lay people who wished to incorporate elements of monasticism into their devotional life. Reciting the hours typically centered upon the reading of a number of psalms and other prayers.

A typical book of hours contains the Calendar of Church feasts, extracts from the Four Gospels, the Mass readings for major feasts, the Little Office of the Blessed Virgin Mary, the fifteen Psalms of Degrees, the seven Penitential Psalms, a Litany of Saints, an Office for the Dead and the Hours of the Cross. Most 15th-century books of hours have these basic contents. The Marian prayers Obsecro te ("I beseech thee") and O Intemerata ("O undefiled one") were frequently added, as were devotions for use at Mass, and meditations on the Passion of Christ, among other optional texts. Such books of hours continue to be used by many Christians today, such as the Catholic “Key of Heaven” prayer books, the Agpeya of Coptic Christianity or The Brotherhood Prayer Book of Lutheranism.

History
The book of hours has its ultimate origin in the Psalter, which monks and nuns were required to recite. By the 12th century this had developed into the breviary, with weekly cycles of psalms, prayers, hymns, antiphons, and readings which changed with the liturgical season. Eventually a selection of texts was produced in much shorter volumes and came to be called a book of hours. During the latter part of the thirteenth century the Book of Hours became popular as a personal prayer book for men and women who led secular lives. It consisted of a selection of prayers, psalms, hymns and lessons based on the liturgy of the clergy. Each book was unique in its content though all included the Hours of the Virgin Mary, devotions to be made during the eight canonical hours of the day, the reasoning behind the name 'Book of Hours'.

Many books of hours were made for women. There is some evidence that they were sometimes given as a wedding present from a husband to his bride. Frequently they were passed down through the family, as recorded in wills. Until about the 15th century paper was rare and most books of hours consisted of parchment sheets made from animal skins.

Although the most heavily illuminated books of hours were enormously expensive, a small book with little or no illumination was affordable much more widely, and increasingly so during the 15th century. The earliest surviving English example was apparently written for a laywoman living in or near Oxford in about 1240. It is smaller than a modern paperback but heavily illuminated with major initials, but no full-page miniatures. By the 15th century, there are also examples of servants owning their own Books of Hours. In a court case from 1500, a pauper woman is accused of stealing a domestic servant's prayerbook.

Very rarely the books included prayers specifically composed for their owners, but more often the texts are adapted to their tastes or gender, including the inclusion of their names in prayers. Some include images depicting their owners, and some their coats of arms. These, together with the choice of saints commemorated in the calendar and suffrages, are the main clues for the identity of the first owner. Eamon Duffy explains how these books reflected the person who commissioned them. He claims that the "personal character of these books was often signaled by the inclusion of prayers specially composed or adapted for their owners." Furthermore, he states that "as many as half the surviving manuscript Books of Hours have annotations, marginalia or additions of some sort. Such additions might amount to no more than the insertion of some regional or personal patron saint in the standardized calendar, but they often include devotional material added by the owner. Owners could write in specific dates important to them, notes on the months where things happened that they wished to remember, and even the images found within these books would be personalized to the owners—such as localized saints and local festivities.

By at least the 15th century, the Netherlands and Paris workshops were producing books of hours for stock or distribution, rather than waiting for individual commissions. These were sometimes with spaces left for the addition of personalized elements such as local feasts or heraldry.

The style and layout for traditional books of hours became increasingly standardized around the middle of the thirteenth century. The new style can be seen in the books produced by the Oxford illuminator William de Brailes who ran a commercial workshop (he was in minor orders). His books included various aspects of the Church's breviary and other liturgical aspects for use by the laity. "He incorporated a perpetual calendar, Gospels, prayers to the Virgin Mary, the Stations of the Cross, prayers to the Holy Spirit, Penitential psalms, litanies, prayers for the dead, and suffrages to the Saints. The book's goal was to help his devout patroness to structure her daily spiritual life in accordance with the eight canonical hours, Matins to Compline, observed by all devout members of the Church. The text, augmented by rubrication, gilding, miniatures, and beautiful illuminations, sought to inspire meditation on the mysteries of faith, the sacrifice made by Christ for man, and the horrors of hell, and to especially highlight devotion to the Virgin Mary whose popularity was at a zenith during the 13th century." This arrangement was maintained over the years as many aristocrats commissioned the production of their own books.

By the end of the 15th century, the advent of printing made books more affordable and much of the emerging middle-class could afford to buy a printed book of hours, and new manuscripts were only commissioned by the very wealthy. The Kitab salat al-sawai (1514), widely considered the first book in Arabic printed using moveable type, is a book of hours intended for Arabic-speaking Christians and presumably commissioned by Pope Julius II.

Decoration
As many books of hours are richly illuminated, they form an important record of life in the 15th and 16th centuries as well as the iconography of medieval Christianity. Some of them were also decorated with jewelled covers, portraits, and heraldic emblems. Some were bound as girdle books for easy carrying, though few of these or other medieval bindings have survived. Luxury books, like the Talbot Hours of John Talbot, 1st Earl of Shrewsbury, may include a portrait of the owner, and in this case his wife, kneeling in adoration of the Virgin and Child as a form of donor portrait. In expensive books, miniature cycles showed the Life of the Virgin or the Passion of Christ in eight scenes decorating the eight Hours of the Virgin, and the Labours of the Months and signs of the zodiac decorating the calendar. Secular scenes of calendar cycles include many of the best known images from books of hours, and played an important role in the early history of landscape painting.

From the 14th century decorated borders round the edges of at least important pages were common in heavily illuminated books, including books of hours. At the beginning of the 15th century these were still usually based on foliage designs, and painted on a plain background, but by the second half of the century coloured or patterned backgrounds with images of all sorts of objects, were used in luxury books.

Second-hand books of hours were often modified for new owners, even among royalty. After defeating Richard III, Henry VII gave Richard's book of hours to his mother, who modified it to include her name. Heraldry was usually erased or over-painted by new owners. Many have handwritten annotations, personal additions and marginal notes but some new owners also commissioned new craftsmen to include more illustrations or texts. Sir Thomas Lewkenor of Trotton hired an illustrator to add details to what is now known as the Lewkenor Hours. Flyleaves of some surviving books include notes of household accounting or records of births and deaths, in the manner of later family bibles. Some owners had also collected autographs of notable visitors to their house. Books of hours were often the only book in a house, and were commonly used to teach children to read, sometimes having a page with the alphabet to assist this.

Towards the end of the 15th century, printers produced books of hours with woodcut illustrations, and the book of hours was one of the main works decorated in the related metalcut technique.

The luxury book of hours

In the 14th century the book of hours overtook the psalter as the most common vehicle for lavish illumination. This partly reflected the increasing dominance of illumination both commissioned and executed by laymen rather than monastic clergy. From the late 14th century a number of bibliophile royal figures began to collect luxury illuminated manuscripts for their decorations, a fashion that spread across Europe from the Valois courts of France and the Burgundy, as well as Prague under Charles IV, Holy Roman Emperor and later Wenceslaus. A generation later, Duke Philip the Good of Burgundy was the most important collector of manuscripts, with several of his circle also collecting. It was during this period that the Flemish cities overtook Paris as the leading force in illumination, a position they retained until the terminal decline of the illuminated manuscript in the early 16th century.

The most famous collector of all, the French prince John, Duke of Berry (1340–1416) owned several books of hours, some of which survive, including the most celebrated of all, the Très Riches Heures du Duc de Berry. This was begun around 1410 by the Limbourg brothers, although left incomplete by them, and decoration continued over several decades by other artists and owners. The same was true of the Turin-Milan Hours, which also passed through Berry's ownership.

By the mid-15th century, a much wider group of nobility and rich businesspeople were able to commission highly decorated, often small, books of hours. With the arrival of printing, the market contracted sharply, and by 1500 the finest quality books were once again being produced only for royal or very grand collectors. One of the last major illuminated book of hours was the Farnese Hours completed for the Roman Cardinal Alessandro Farnese in 1546 by Giulio Clovio, who was also the last major manuscript illuminator.

Selected examples
See Category:Illuminated books of hours for a fuller list

In Europe

 * Bedford Hours (c.1410–1430): London, British Library, Add. MS 18850
 * Belles Heures of Jean de France, Duc de Berry (c.1405–1408/1409): Metropolitan Museum of Art, Cloisters Collection, 54.1.1a, b
 * Black Hours of Galeazzo Maria Sforza (c.1466–1477): Vienna, Austrian National Library, Codex Vindobon. 1856
 * Book of Hours (15th century): Milan, Biblioteca Trivulziana, Cod. 470
 * Book of Hours (15th century): Paris, Bibliothèque nationale, MS lat. 10536 — one of the few early cordiform manuscripts still extant
 * Book of Hours of Frederick of Aragon (1501–1502): Paris, Bibliothèque nationale, MS Lat. 10532
 * Cobden Book of Hours: Bristol University Special Collections
 * Grandes Heures of Anne of Brittany (1503–1508): Paris, Bibliothèque nationale, MS lat. 9474
 * Hours of Étienne Chevalier (1450s) — sheets in several libraries
 * Hours of Gian Galeazzo Visconti (late 14th century): Florence, Biblioteca Nazionale, Banco Rari 397 and Landau-Finaly 22
 * Hours of James IV of Scotland (c.1503): Austrian National Library, Codex Vindobon. 1897
 * Hours of Philip the Bold (late 14th century): Cambridge, Fitzwilliam Museum, MS 3-1954
 * Howard Psalter and Hours (1310–1320): London, British Library, Arundel MS 83, pt 1
 * Llanbeblig Book of Hours (1390–1400): Aberystwyth, National Library of Wales, NLW MS 17520A
 * Petites Heures du Duc de Berry (1375×1385–1390): Paris, Royal Library, MS lat. 18014
 * Primer of Claude of France (1505): Cambridge, Fitzwilliam Museum, MS 294 — simplified for a young princess
 * Ravenelle Hours (15th century): Uppsala, UUB, MS C517e — a typical representative of books of hours made in Paris
 * Rohan Hours (1430s): Paris, Bibliothèque nationale, MS lat. 9471
 * Sforza Hours (commissioned c.1490, completed c.1517–1520): London, British Library, Add. MS 34294
 * Taymouth Hours (c.1325–1335): London, British Library, Yates Thompson MS 13
 * Très belles heures du Duc de Berry: Brussels, Royal Library of Belgium, 11060–11061
 * Très belles heures de Notre-Dame du Duc de Berry: Paris, Bibliothèque nationale, nouv. acq. lat. 3093
 * Très Riches Heures du Duc de Berry (c.1411–1416): Chantilly, Musée Condé, MS 65
 * Turin-Milan Hours: Turin, City Museum of Ancient Art, MS Inv. 47
 * 'The De Brailes Hours', formerly known as 'The Dyson Perrins Hours' (1240): London, British Library, Add. MS 49999

In the United States

 * Belles Heures of Jean de France, Duc de Berry (c.1405–1408/9): New York, Metropolitan Museum of Art, The Cloisters, 54.1.1a, b — miniatures of 'the Limburg Brothers'
 * Black Hours (1460–1475): New York, Morgan Library, Morgan MS 493 — an example of Black Hours, codices copied on black pages
 * Farnese Hours (1546): New York, Morgan Library, MS M.69 — illuminated by Giulio Clovio
 * Hours of Catherine of Cleves, property of 'Katharina van Kleef' (15th century): New York, Morgan Library, MSS M.917 and M.945
 * Hours of Henry VIII: New York, Morgan Library, MS H.8 — with miniatures by Jean Poyer
 * Hours of Jeanne d'Evreux (1325–1328): New York, Metropolitan Museum of Art, The Cloisters, 54.1.2

In Australia

 * Rothschild Prayerbook (c.1500–1520): on display at the National Library of Australia in Canberra, owned by Australian businessman Kerry Stokes.

For individual works

 * The Hours of Mary of Burgundy (facsimile edition). Harvey Miller, 1995. ISBN 1-872501-87-7
 * Barstow, Kurt. The Gualenghi-d'Este Hours: Art and Devotion in Renaissance Ferrara. Los Angeles: Getty Publications, 2000. ISBN 978-0-89236-370-4
 * Clark, Gregory T. The Spitz Master: A Parisian Book of Hours. Los Angeles: Getty Publications, 2003. ISBN 9780892367122
 * Meiss, Millard, and Edith W. Kirsch. The Visconti Hours. New York: George Braziller, 1972. ISBN 9780807613597
 * Meiss, Millard, and Elizabeth H. Beatson. The Belles Heures of Jean, Duke of Berry. New York: George Braziller, 1974. ISBN 978-0807607503
 * Meiss, Millard, and Marcel Thomas. The Rohan Master: A Book of Hours (translation, Katharine W. Carson).  New York: George Braziller, 1973. ISBN 978-0807613580
 * Porcher, Jean. The Rohan Book of Hours: With an Introduction and Notes by Jean Porcher. New York: Thomas Yoseloff, 1959.
 * Manion, Margaret and Vines, Vera. Medieval and Renaissance Illuminated Manuscripts in Australian Collections, 1984. IE9737078

General information

 * Book of Hours - Harry Ransom Center of the University of Texas at Austin
 * World Digital Library from partner - Library of Congress (Digital Books of Hours)
 * Sacred Image and Illusion in Late Flemish Manuscripts, Robert G. Calkins, Cornell University
 * AbeBooks, Explaining Books of Hours with a varied selection of examples.
 * 541 examples from the Digital Scriptorium
 * Book of Hours Tutorial, Les Enluminures and the Morgan Library & Museum, MS M.1093
 * Blog: PECIA/ Le manuscrit médiéval ~ The medieval manuscript
 * Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF)
 * CHD Center for Håndskriftstudier i Danmark, founded by Erik Drigsdahl
 * CHD Center for Håndskriftstudier i Danmark, founded by Erik Drigsdahl

Full "turn the pages" online individual manuscripts

 * Lavishly illustrated Books of Hours, 12th through 16th centuries, Center for Digital Initiatives, University of Vermont Libraries
 * The Sforza Hours at the British Library.
 * Book of Hours, Use of Rome (the 'Golf Book'), c.1540, BL, Add MS 24098.
 * Catholic Church. Book of hours Ms.Library of Congress. Rosenwald ms. 10, 1524. 113 leaves (23 lines (calendar 33 lines)), bound: parchment, col. ill.; 24 cm.
 * Picturing Prayer, Books of Hours at Houghton Library, Harvard University.
 * Book of Hours, of Premonstratensian Use at the Digital Archives Initiative Memorial University of Newfoundland.
 * Late 15th Century French Book of Hours- De Villers Book of Hours, Digitized Collection: Utah State University.
 * Book of Hours, circa 1430: University of Edinburgh MS 39.

The texts

 * A Hypertext Book of Hours; full texts and translation
 * Late Medieval and Renaissance Illuminated Manuscripts - Books of Hours 1400-1530 - An excellent guide containing tables describing all the various uses; also with original Latin texts and high-resolution photographs of many books.
 * Books of Hours at the University of Pennsylvania Libraries - fully digitized with descriptions.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Book of hours


text:
Stovall

Stovall may refer to:

Places

 * Stovall, Georgia
 * Stovall, Mississippi
 * Stovall, North Carolina, a town in North Carolina
 * Stovall Drive, in Clovis, California
 * Stovall House, historic home in Tampa, Florida
 * Stovall's Inn, a Best Western hotel across the street from Disneyland in Anaheim, California
 * Stovall Middle School, middle school in Houston, Texas
 * Stovall Mill Covered Bridge, smallest covered bridge in the U.S. state of Georgia
 * The Stovall, a high rise in Tampa, Florida
 * 24010 Stovall, an asteroid

People sharing the surname "Stovall"

 * Anthony Stovall (born 1982), American professional soccer player
 * Babe Stovall (1907–1974), American blues musician
 * Carla Stovall (born 1957), Attorney General of Kansas 1995–2003
 * Dale E. Stovall (born 1944), USAF Brigadier General
 * Di Stovall (born 1947), American artist
 * Dick Stovall (1922–1999), NFL football player
 * Don Stovall (1913–1970), American jazz saxophonist
 * Fred Stovall (1882–1958), oilman and baseball club owner
 * George Stovall (1877–1951), American baseball player, manager of the Cleveland Naps, and player/manager of St. Louis Browns
 * Gil Stovall (born 1986), American Olympic swimmer
 * Jack Stovall, football coach for Central Connecticut State University
 * Jerry Stovall (born 1941), professional football player and coach at LSU
 * Jesse Stovall (1875–1955), professional baseball player
 * Jim Stovall, blind author and advocate
 * Kate Bradley Stovall (1884–1914), American writer, clubwoman
 * Lloyd Stovall, football coach for Southeastern Louisiana University
 * Marcellus A. Stovall (1818–1895), American soldier and Confederate general
 * Maurice Stovall (born 1985), American football player
 * Paul Stovall (1948–1978), American professional basketball player
 * Peter Simpson Stovall, State Treasurer of Mississippi (1912–1916)
 * Queena Stovall (1888–1980), West Virginia folk artist known as the Grandma Moses of West Virginia
 * Rawson Stovall (born 1972), video game producer
 * The Stovall Sisters, a gospel trio, sisters Lillian, Joyce and Netta Stovall, members of the Blues Hall of Fame
 * Thelma Stovall (1919–1994), Lieutenant Governor of Kentucky (1975–1979)
 * Wallace Stovall, publisher of The Tampa Tribune
 * William H. Stovall, a World War I flying ace
 * J. Willis Stovall, paleontologist, who co-named Acrocanthosaurus
 * Welmon Sharlhorne, also known as Welman Stovall (born 1952), African-American painter

Fictional characters

 * Lt. Stovall, character in the 1959 film Operation Petticoat
 * Major Harvey Stovall, character in Twelve O'Clock High, a novel (1948), film (1949) and television series (1964-67)
 * Red Stovall, character played by Clint Eastwood in the 1982 film Honkytonk Man
 * Dewey Stovall character, played by Paul Brinegar, in the 1979-1980's TV Show "Dukes of Hazzard"
 * Victor Stovall is a character in MN Seeley's 2020 novel, "Cur Dogs."

title: Stovall


text:
Stover

Stover are the leaves and stalks of field crops, such as corn (maize), sorghum or soybean that are commonly left in a field after harvesting the grain. It is similar to straw, the residue left after any cereal grain or grass has been harvested at maturity for its seed. It can be directly grazed by cattle or dried for use as fodder. Stover has attracted some attention as a potential fuel source, and as biomass for fermentation or as a feedstock for cellulosic ethanol production. Stover from various crops can also be used in mushroom compost preparation.

The word stover derives from the English legal term estovers, referring to the right of tenants to cut timber.

title: Stover


text:
Stow Creek

Stow Creek may refer to:

 * Stow Creek (New Jersey), a tributary of Delaware Bay in southern New Jersey
 * Stow Creek Township, New Jersey, in Cumberland County
 * Stow Creek School District, in Cumberland County, New Jersey

title: Stow Creek


text:
Sucha

Sucha or Suchá may refer to:

Czech Republic

 * Suchá, a municipality and village in the Vysočina Region
 * Suchá, a village and part of Havlíčkův Brod in the Vysočina Region
 * Suchá, a village and part of Hlavňovice in the Plzeň Region
 * Suchá, a village and part of Jáchymov in the Karlovy Vary Region
 * Suchá, a village and part of Nechanice in the Hradec Králové Region
 * Suchá, a village and part of Nejdek in the Karlovy Vary Region
 * Suchá, a village and part of Litomyšl in the Pardubice Region
 * Suchá, a village and part of Stebno in the Ústí nad Labem Region

Poland

 * Sucha, Kuyavian-Pomeranian Voivodeship (north-central Poland)
 * Sucha Beskidzka in Lesser Poland Voivodeship (south Poland)
 * Sucha, Łódź Voivodeship (central Poland)
 * Sucha, Białobrzegi County in Masovian Voivodeship (east-central Poland)
 * Sucha, Radom County in Masovian Voivodeship (east-central Poland)
 * Sucha, Greater Poland Voivodeship (west-central Poland)
 * Sucha, Lubusz Voivodeship (west Poland)
 * Sucha, Opole Voivodeship (south-west Poland)
 * Sucha, Pomeranian Voivodeship (north Poland)
 * Sucha, Warmian-Masurian Voivodeship (north Poland)
 * Sucha, Myślibórz County in West Pomeranian Voivodeship (north-west Poland)
 * Sucha, Szczecinek County in West Pomeranian Voivodeship (north-west Poland)
 * Sucha, Świdwin County in West Pomeranian Voivodeship (north-west Poland)

People

 * Graham Sucha (born 1986), Canadian politician
 * Růžena Suchá (1907–1989), Czech chess master

title: Sucha


text:
Très Riches Heures du Duc de Berry

The Très Riches Heures du Duc de Berry (The Very Rich Hours of the Duke of Berry ), or Très Riches Heures, is an illuminated manuscript that was created between c. 1412 and 1416. It is considered a book of hours, which is a type of 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 King Charles V of France, by Limbourg brothers Paul, Johan and Herman. The book is now kept at MS 65 in the Musée Condé, Chantilly, France.

Consisting of a total of 206 leaves of very fine quality parchment, 30 cm in height by 21.5 cm in width, the manuscript contains 66 large 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, 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) the manuscript was left unfinished. It was further added upon 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 Duc d'Aumale in 1856.

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. 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 aristocrats in formal attire, against a background of remarkable medieval architecture.

Historical context
The "Golden Age" of the book of hours in Europe took place from 1350 to 1480; the book of hours became popular in France around 1400 (Longnon, Cazelles and Meiss 1969). At this time many major French artists undertook manuscript illumination.

Duke of Berry
John, Duke of Berry, is the French prince for whom the Très Riches Heures was made. Berry was the third son of the future king of France, John the Good, and the brother and uncle of the next two kings. Little is known of Berry's education, but it is certain that he spent his adolescence among arts and literature (Cazelles and Rathofer 1988). The young prince lived an extravagant life, necessitating frequent loans. He commissioned many works of art, which he amassed in his Saint Chapelle mansion. Upon Berry's death in 1416, a final inventory was done on his estate that described the incomplete and unbound gatherings of the book as the "très riches heures" ("very rich[ly decorated] hours") to distinguish it from the 15 other books of hours in Berry's collection, including the Belles Heures ("beautiful hours") and Petites Heures ("little hours") (Cazelles and Rathofer 1988).

Provenance
The Très Riches Heures has changed ownership many times since its creation. The gatherings were certainly in Berry's estate on his death in 1416, but after this little is clear until 1485. A good deal is known about the lengthy and messy disposal of Berry's goods to satisfy his many creditors, which was disrupted by the insanity of the king and the Burgundian and English occupation of Paris, but there are no references to the manuscript. It seems to have been in Paris for much of this period, and probably earlier; some borders suggest the style of the Parisian Bedford Master's workshop, and works from the 1410s to the 1440s by the Bedford workshop — later taken over by the Dunois Master — use border designs from other pages, suggesting that the manuscript was available for copying in Paris.

Duke Charles I of Savoy acquired the manuscript, probably as a gift, and commissioned Jean Colombe to complete the manuscript around 1485–1489. Sixteenth-century Flemish artists imitated the figures or entire compositions found in the calendar (Cazelles and Rathofer 1988). The manuscript belonged to Margaret of Austria, Duchess of Savoy (1480–1530), Governor of the Habsburg Netherlands from 1507 to 1515 and again from 1519 to 1530.

After this its history is unknown until the 18th century, when it was given its present bookbinding with the arms of the Serra family of Genoa, Italy.

It was inherited from the Serras by Baron Felix de Margherita of Turin and Milan. The French Orleanist pretender, Henri d'Orléans, Duke of Aumale, then in exile at Twickenham near London, bought it from the baron in 1856. On his return to France in 1871 Aumale placed it in his library at the Château de Chantilly, which he bequeathed to the Institut de France as the home of the Musée Condé.

Recent history

When Aumale saw the manuscript in Genoa he was able to recognize it as a commission of Berry, probably because he was familiar with a set of plates of other manuscripts of Berry published in 1834, and subsidized by the government of the duke's father, King Louis Philippe I. Aumale gave the German art historian Gustav Friedrich Waagen breakfast and a private view of the manuscript at Orleans House, just in time for a 10-page account to appear in Waagen's Galleries and Cabinets of Art in Great Britain in 1857, so beginning its rise to fame. He also exhibited it in 1862 to the members of the Fine Arts Club.

The connection with the "très riches heures" listed in the 1416 inventory was made by Léopold Victor Delisle of the Bibliothèque nationale de France and communicated to Aumale in 1881, before being published in 1884 in the Gazette des Beaux-Arts; it has never been seriously disputed. The manuscript took pride of place in a three-part article on all of Berry's manuscripts then known, and was the only one illustrated, with four plates in heliogravure. However the manuscript was called the "Grandes Heures du duc de Berry" in this, a title now given to another manuscript, based on its larger page size. The name "Heures de Chantilly" was also used in the next decades.

A monograph with 65 heliogravure plates was published by Paul Durrieu in 1904, to coincide with a major exhibition of French Gothic art in Paris where it was exhibited in the form of 12 plates from the Durrieu monograph, as the terms of Aumale's bequest forbade its removal from Chantilly. The work became increasingly famous, and increasingly reproduced. The first colour reproductions, using the technique of photogravure, appeared in 1940 in the French art quarterly Verve. Each issue of this lavish magazine cost three hundred francs. In January 1948, the very popular American photo-magazine Life published a feature with full-page reproductions of the 12 calendar scenes, at a little larger than their actual size but at very low-quality. Catering to American sensibilities of the time, the magazine censored one of the images by retouching the genitals of the peasant in the February scene. The Musée Condé decided in the 1980s, somewhat controversially, to remove the manuscript completely both from public display and scholarly access, replacing it with copies of a complete modern facsimile. Michael Camille argues that this completes the logic of the reception history of a work that has almost entirely become famous through reproductions of its images, with the most famous images having been seen in the original by only a very small number of people.

Artists

There has been much debate regarding the identity and number of artists who contributed to the Très Riches Heures.

The Limbourg brothers
In 1884, Léopold Delisle correlated the manuscript with the description of an item in an inventory drawn up after Berry's death: "several gatherings of a very rich book of hours [très riches heures], richly historiated and illuminated, that Pol [Paul] and his brothers made". Delisle's resulting attribution to Paul de Limbourg and his two brothers, Jean and Herman, "has received general acceptance and also provided the manuscript with its name."

The three Limbourg brothers had originally worked under the supervision of Berry's brother, Philip the Bold, Duke of Burgundy, on a Bible Moralisée and had come to work for Berry after Philip's death. By 1411, the Limbourgs were permanent members of Berry's household (Cazelles and Rathofer 1988). It is also generally agreed that another of Berry's books of hours, the Belles Heures, completed between 1408 and 1409, can also be attributed to the brothers. It is thought that the Limbourg contribution to the Très Riches Heures was between about 1412 and their deaths in 1416. Documentation from 1416 was found indicating that Jean, followed by Paul and Herman, had died. Jean de Berry died later that year (Cazelles and Rathofer 1988). Apart from the main campaign of illumination, the text, border decorations, and gilding were most likely executed by assistants or specialists who remain unknown.

The choice of castles in the calendar is one factor in the dating of the brothers' contribution. The Château of Bicêtre, just outside Paris, was one of Berry's grandest residences, but does not appear in the calendar. It seems likely that this was because no image had been created by October 1411, when a large mob from Paris looted it and set it on fire in the Armagnac–Burgundian Civil War. However the châteaux at Dourdan (April) and Étampes (July) are both shown, although Berry lost them to the Burgundians at the end of 1411, with Étampes being badly damaged in the siege.

Jean Colombe
Folio 75 of the Très Riches Heures includes Duke Charles I of Savoy and his wife. The two were married in 1485 and the Duke died in 1489, implying that it was not one of the original folios. The second painter was identified by Paul Durrieu as Jean Colombe, who was paid 25 gold pieces by the Duke to complete certain canonical hours (Cazelles and Rathofer 1988).

There were some miniatures which were incomplete and needed filling in, for example, the foreground figures and faces of the miniature illustrating the Office of the Dead, known as the Funeral of Raymond Diocrès.

There are other subtle differences between the miniatures created by the Limbourgs and Colombe. Colombe chose to set large miniatures in frames of marble and gold columns. His faces are less delicate, with more pronounced features. He also used a very intense blue paint that is seen in the landscape of some miniatures. Colombe is worked in his own style without attempting to imitate that of the Limbourgs (Cazelles and Rathofer 1988). In folio 75 he followed the Limbourgs by including a depiction of one of his patron's castles in the Duchy of Savoy in the landscape background.

The Intermediate Painter
The "intermediate painter", also called the Master of the Shadows, as shadows are an element of his style, is often thought to be Barthélemy van Eyck (strictly the miniaturist known as the Master of René of Anjou, who is now normally identified with the documented painter Barthélemy van Eyck) who would probably have been at work in the 1440s. Other scholars put his work as early as the 1420s, though there is no documentation for this. At any rate, the intermediate artist is assumed to have worked on the manuscript sometime between 1416 and 1485. Evidence from the artistic style, as well as the details of costume, suggests that the Limbourgs did not paint some of the calendar miniatures. Figures in the miniatures for January, April, May, and August are dressed in styles from 1420. The figures strolling in October are dressed in a sober fashion indicative of the mid-fifteenth century. It is known that the gatherings fell into hands of King Charles VII after Berry's death, and it is assumed that the intermediate painter is associated with his court (Cazelles and Rathofer 1988).

Catherine Reynolds, in an article of 2005, approached the dating of the "intermediate painter"'s work through the borrowings from it visible in the work of other Parisian illuminators, and placed it in the late 1430s or at the start of the 1440s. This is inconveniently early for what she describes as the "generally accepted" identification with Barthélemy van Eyck, and in any case she detects a number of stylistic differences between van Eyck and the "intermediate painter." Jonathan Alexander sees no stylistic need to hypothesize an intermediate painter at all.

Attribution of the calendar miniatures
The artists of the calendar miniatures have been identified as follows (Cazelles and Rathofer 1988):
 * January: Jean
 * February: Paul
 * March: Paul and Colombe
 * April: Jean
 * May: Jean
 * June: Paul, Jean, Herman, and Colombe (?)
 * July: Paul
 * August: Jean
 * September: Paul and Colombe
 * October: Paul and Colombe (?)
 * November: Colombe
 * December: Paul

Pognon gives the following breakdown of the main miniatures in the Calendar, using more cautious stylistic names for the artists:
 * January: the courtly painter
 * February: the rustic painter
 * March: the courtly painter (landscape) and the Master of the Shadows (figures)
 * April: the courtly painter
 * May: the courtly painter
 * June: the rustic painter
 * July: the rustic painter
 * August: the courtly painter
 * September: the rustic painter (landscape)? and the Master of the Shadows (figures)
 * October: the Master of the Shadows
 * November: Jean Colombe
 * December: the Master of the Shadows

In addition Pognon identifies the "pious painter" who painted many of the religious scenes later in the book during the initial campaign. The "courtly", "rustic" and "pious" painters would probably equate to the three Limbourg brothers, or perhaps other artists in their workshop. There are alternative analyses and divisions proposed by other specialists.

Function
A breviary consists of a number of prayers and readings in a short form, generally for use by the clergy. The book of hours is a simplified form of breviary designed for use by the laity where the prayers are intended for recital at the canonical hours of the liturgical day. Canonical hours refer to the division of day and night for the purpose of prayers. The regular rhythm of reading led to the term "book of hours".(Cazelles and Rathofer 1988)

The book of hours consists of prayers and devotional exercises, freely arranged into primary, secondary and supplementary texts. Other than the calendar at the beginning, the order is random and can be customized for the recipient or region. The Hours of the Virgin were regarded as the most important, and therefore subject to the most lavish illustration. The Très Riches Heures is rare in that it includes several miracles performed before the commencement of the passion (Cazelles and Rathofer 1988).

Calendar gallery
Fuller descriptions are available at a University of Chicago website.

Vellum
The parchment or vellum used in the 206 folios is fine quality calfskin. All bi-folios are complete rectangles and the edges are unblemished and therefore must have been cut from the centre of skins of sufficient size. The folios measure 30 cm in height by 21.5 cm in width, although the original size was larger as evidenced by several cuts into the miniatures. The tears and natural flaws in the vellum are infrequent and almost go unnoticed (Cazelles and Rathofer 1988).

Illustrations
The ground colors were moistened with water and thickened with either gum Arabic or tragacanth gum. Approximately ten shades are used besides white and black. The detailed work required extremely small brushes and probably a lens (Longnon, Cazelles and Meiss 1969).

Contents
The contents of the book are typical of those of a book of hours, though the quantity of illumination is extremely unusual.

 * The Calendar: Folios 1–13
 * A generalized calendar (not specific to any year) of church feasts and saints' days, often illuminated with representations of the Labours of the Months, is a usual part of a book of hours, but the illustrations of the months in the Très Riches Heures are exceptional and innovative in their size, and the best known element of the decoration of the manuscript. Up to this point any scenes of the labours had been smaller images on the same page as the calendar text, though later 15th-century calendars often adopted the Limbourg's innovation of a full-page miniature, though most had smaller pages than here. They were also unprecedented in mostly showing one of the duke's castles in the background.  They are filled with details of the delights and labors of the months, from the Duke's court to his peasants, a counterpart to the prayers of the hours. Each illustration is surmounted with its appropriate hemisphere showing a solar chariot, the signs and degrees of the zodiac, and numbering the days of the month and the martyrological letters for the ecclesiastic lunar calendar.  Each month of the calendar is allotted an opening of two pages, on the righthand page the calendar listing notable feast days and on the left the miniature. January is the largest miniature in the calendar and includes the Duke of Berry at a New Year’s Day feast (Longnon, Cazelles and Meiss 1969).

 * Several of the miniatures depict the Duke, fields or castles he owned, and places he visited. This shows the personal function of the book of hours, as it is customized to suit the patron (Cazelles and Rathofer 1988).

 * The September miniature was almost certainly painted in two phases: first, the upper section with the sky and château was painted in the middle of the fifteenth century, around 1438–1442, in the time of René d’Anjou and Yolande d’Aragon; then the lower scene of grape-picking was completed by Jean Colombe from a sketch left by his predecessor. In general, artists started with the background, then painted in the characters before finishing with their faces.

 * In the foreground, it is grape-picking time. The woman in a white and red apron looks pregnant. Other young peasants are picking the purple bunches, while one of them is tasting the grapes. A further character holding a basket is walking towards a mule which is carrying two panniers. The grapes are being loaded either into the mules' panniers or into the vats on the cart pulled by two oxen.

 * In the background stands the Château de Saumur with its chimneys and weathervanes decorated with golden fleurs-de-lys. It was built by Louis II d'Anjou then given to his wife Yolande d’Aragon, the mother of King René and mother-in-law of Charles VII, over whom she had a considerable sway. The presence of this château can be explained by the important role played by Yolande in the early years of the reign of Charles VII and by how much the king enjoyed staying there. On the left, behind the enceinte, stands a clock-tower, the chimneys of the kitchens and a gate leading to a drawbridge. A horse is coming out and a woman with a basket on her head is on her way in.

 * In front of the château, between the vines and the moat can be seen a tilting ground surrounded by palisades, where tournaments were held.

 * The architectural design of the château draws the gaze up towards the dreamily poetic volutes. The towers conceal their protective nature beneath festive trappings, redolent of fabulous adventures in the forests of Arthurian legends and suggestive of the presence of God in His creation. As François Cali put it: "These extravagant towers are a dream landscape with constellations of canopies, pinnacles, gables and arrows, with their crockets fluttering against the light."

 * In the middle of the grape pickers, a character is showing his behind. This intentionally grotesque touch contrasts with the extraordinary elegance of the château. Jean Colombe's peasants lack the dignity they have in the other miniatures.

 * Anatomical Zodiac Man: Folio 14
 * The Anatomical Zodiac Man concludes the calendar. The twelve signs of the zodiac appear over the corresponding anatomical regions. It contains Berry's coat of arms of three fleurs-de-lis on a blue background. Such an image appears in no other book of hours, but astrology was one of Berry's interests, and several works on the subject were in Berry's library. The two figures are sometimes regarded as male and (looking out at the viewer) female, but Pognon finds both "strangely hermaphrodite", and intentionally so.

 * Readings from the Gospels: Folios 17–19
 * Prayers to the Virgin: Folios 22–25
 * Fall of Man: Folio 25
 * This part is represented in four stages within the same miniature. The Fall of Man is thought to have been by Jean de Limbourg and was to belong to a series of miniatures not originally intended for the Très Riches Heures.

 * Hours of the Virgin Matins: Folios 26–60
 * Illustrated with a cycle of the Life of the Virgin, with the page showing the Rest on the Flight to Egypt by Jean Colombe.

 * Psalms: Folio 61–63
 * The illustrations for the psalms employ a literal interpretation of the text that is rare for the late medieval period (Manion 1995).

 * The Penitential Psalms: Folio 64–71
 * This section begins with the "Fall of the Angels", which bears a lot of similarity to a panel painting by a Sienese painter dating from 1340 to 1348, now at the Louvre (Longnon, Cazelles and Meiss 1969). The Limbourgs may have known this work. This miniature has been identified as not originally intended for the Très Riches Heures. The final opening has a double-page image of the Procession of Saint Gregory that surrounds the text columns, with depictions of the skyline of Rome.

 * Hours of the Cross: Folios 75–78
 * In this section Christ is depicted as the Man of Sorrows, exhibiting wounds and surrounded by instruments of the passion. This is a common iconographic type in fourteenth-century manuscripts (Cazelles and Rathofer 1988).

 * Hours of the Holy Ghost: Folios 79–81

 * Office of the Dead: Folios 82–107
 * Colombe painted all the miniatures of this section, other than “Hell”, which was painted by a Limbourg brother. “Hell” is based on a description from a thirteenth-century Irish monk Tundal (Cazelles and Rathofer 1988). This miniature may not have been originally intended for the manuscript. Meiss and subsequent writers have argued that the full-page miniatures that codicological data show were inserted on single leaves were not originally designed for the Très Riches Heures (including the Anatomical Man, folio 14v; The Fall, folio 25r; the Meeting of the Magi, folio 51v; the Adoration of the Magi, folio 52r; the Presentation, folio 54v; the Fall of the Rebel Angels, folio 64v; Hell, folio 108r; the Map of Rome, folio 141v). Margaret Manion, however, has suggested that, "although the subjects are handled in an innovative manner, they fit within the context of the prayerbook and could well have been part of a developing collaborative plan."

 * The funeral image shows a reputed incident at the funeral of Raymond Diocres, a famous Parisian preacher, when in the middle of his Requiem Mass he was said to have lifted up his coffin lid, and announced to the congregation "I have been condemned to the just judgement of God".

 * Short Weekday Offices: Folios 109–140
 * The Presentation of the Virgin takes place in front of Bourges Cathedral, in Berry's ducal capital (Longnon, Cazelles and Meiss 1969).

 * Plan of Rome: Folio 141
 * Hour of the Passion: Folio 142–157
 * Masses for the Liturgical Year: Folios 158–204
 * Folio 201 depicts the martyrdom of Andrew the Apostle. The Duke of Berry was born on Saint Andrew's Day, 1340; consequently this miniature was of great importance to him (Cazelles and Rathofer 1988).

Stylistic analysis
The Limbourg brothers had artistic freedom but worked within a framework of the religious didactic manuscript. Several artistic innovations by the Limbourg brothers can be noticed in the Très Riches Heures. In the October miniature, the study of light was momentous for Western painting (Cazelles and Rathofer 1988). People were shown reflected in the water, the earliest representation of this type of reflection known thus far. Miniature scenes had new informality, with no strong framing forms at the edges. This allowed for continuity beyond the frame of view to be vividly defined. The Limbourgs developed a more naturalistic mode of representation and developed portraiture of people and surroundings. Religious figures do not inhabit free open space and courtiers are framed by vegetation. This is reminiscent of a more classical representation (Longnon, Cazelles and Meiss 1969). Some conventions used by the Limbourgs, such as a diaper background or the portrayal of night, were influenced by artists such as Taddeo Gaddi. These conventions were transformed completely into the artist's unique interpretation (Longnon, Cazelles and Meiss 1969).

Manion offers a stylistic analysis of the psalter specifically. The psalters offer a systematic program of illuminations corresponding to the individual psalms. These images are linked together, but are not in the numerical order of the psalter. This emphasizes the idea of the abbreviated psalter, where each psalm is illustrated once (Manion 1995). The miniatures are not modeled on any specific visual or literary precedence when compared with other fourteenth century psalters. The manuscript offers a literal interpretation of the words and lacks a selection of more personal prayers. This emphasizes the didactic use of the book of hours (Manion 1995).

Books

 * Jules Guiffrey, Inventaires de Jean, duc de Berry (1401–1416). Paris: Leroux, 1894, 347 p. Copy at the Internet Archive.
 * Paul Durrieu, Les Très Riches Heures de Jean de France, duc de Berry, Plon, 1904, 261 p. (text) + 64 heliogravure plates, 320 copies printed
 * Erwin Panofsky, Early Netherlandish Painting, 1953.
 * Millard Meiss, French Painting in the Time of Jean De Berry : Limbourgs and Their Contemporaries, Thames and Hudson, 1974, 533 p. (ISBN 0-500-23201-6)
 * Raymond Cazelles and Johannes Rathofer, Les Très Riches Heures du Duc de Berry, Luzern, Faksimile-Verlag, 1984, 416+435 p., facsimile edition of 980 copies with commentary volume
 * L. Scharcherl, Très Riches Heures, Behind the Gothic masterpiece, München, Prestel, 1996.
 * Patricia Stirnemann and Inès Villela-Petit, Les Très Riches Heures du duc de Berry et l'enluminure en France au début du XVe siècle, Paris, Somogy éditions d'art / Musée Condé, 2004, 86 p. ISBN 2850567426
 * Patricia Stirnemann, Les Très Riches Heures du duc de Berry, Paris, Réunion des musées nationaux, 2004.
 * Rob Dückers and Pieter Roelofs, The Limbourg Brothers : Nijmegen Masters at the French Court 1400-1416, Ludion, Antwerp, 2005, 447 p. ISBN 90-5544-596-7
 * Laurent Ferri and Hélène Jacquemard, The Très Riches Heures du duc de Berry : The Glory of the Medieval Book, Paris/Chantilly, Skira/Domaine de Chantilly, 2018, 80 p. ISBN 978-2370740847

Articles

 * Harry Bober. "The Zodiacal Miniature of the Très Riches heures of the Duke of Berry: Its Sources and Meaning." Journal of the Warburg and Courtauld Institutes, 11 (1948), p. 1–34, pl. 5g and 5 h.
 * Eberhard König. "Un grand miniaturiste inconnu du XVe siècle français. Le peintre de l'octobre des Très Riches Heures du duc de Berry." Les dossiers de l'archéologie. Enluminure gothique, 16 (1976, p. 96–123.
 * Michael Bath. "Imperial renovatio symbolism in the Très Riches Heures." Simiolus, 17/1 (1987), p. 5–22.
 * Herman Th. Colenbrander. "The Limbourg brothers, the miniaturists of Très Riches Heures du Duc de Berry?" Masters and miniatures. Proceedings of the congress on medieval manuscript illumination in the Northern Netherlands (Utrecht, 10–13 December 1989), edited by Koert van der Horst and Johann-Christian Klamt, Doornspijk, 1991 (Studies and Facsimiles of Netherlands illuminated manuscripts, 3), p. 109–116.
 * Herman Th. Colenbrander. "The Limbourg Brothers, the joyaux of Constantine and Heraclius, the Très Riches Heures and the visit of the Byzantine Emperor Manuel II Palaeologus to Paris in 1400–1402." Flanders in a European perspective : Manuscript illumination around 1400 in Flanders and abroad, edited by Maurits Smeyers and Bert Cardon, Leuven, 1995 (Corpus of illuminated manuscripts, 8), p. 171–184.
 * Margaret M. Manion. "Psalter Illustration in the Très Riches Heures of Jean de Berry."Gesta, 34/2 (1995), p. 147–161.
 * Herman Th. Colenbrander. "Les Très riches heures de Jean, duc de Berry: Un document politique?" Cahiers d'archéologie et d'histoire du Berry. En Berry, du Moyen-Âge à la Renaissance. Pages d'histoire et d'histoire de l'art. Mélanges offerts à Jean-Yves Ribault, edited by P. Goldman et C.-E. Roth, 1996.
 * Matthias Müller. "Das irdische Territorium als Abbild eines himmlischen. Überlegungen zu den Monatsbildern in den Très Riches Heures des Herzogs Jean de Berry." Bildnis, Fürst und Territorium, Rudolstädter Forschungen zur Residenzkultur, 2 (2000), p. 11-29.
 * Klara H. Broekhuijsen. "The legend of the grateful dead. A misinterpreted miniature in the Très Riches Heures of Jean de Berry." Liber amicorum in memory of Professor Dr. Maurits Smeyers, edited by Bert Cardon, Jan Van der Stock and Dominique Vanwijnsberghe, Leuven, 2002 (Corpus of illuminated manuscripts, 11–12), p. 213–230.
 * Patricia Stirnemann and Claudia Rabel. "The 'Très Riches Heures' and two artists associated with the Bedford workshop." The Burlington Magazine, 147 (2005), p. 534–538.
 * Catherine Reynolds. "The Très Riches Heures, the Bedford workshop and Barthélemy d'Eyck." The Burlington Magazine, 147 (2005).
 * Patricia Stirnemann. "Combien de copistes et d'artistes ont contribué aux Très Riches Heures du duc de Berry?" La création artistique en France autour de 1400, edited by Elisabeth Taburet Delahaye. Paris, Ecole du Louvre, 2006, p. 365–380.
 * Nicole Reynaud. "Petite note à propos des Très Riches Heures du duc de Berry et de leur entrée à la cour de Savoie." Mélanges en l’honneur de François Avril, edited by Mara Hofmann and Caroline Zöhl, Turnhout, Paris, 2007 (Ars Nova, 15), p. 273–277.
 * Patricia Stirnemann. "Les Très Riches Heures et les Heures de Bedford." Revista de História da Arte, 7 (2009), p. 139–151.
 * Jean-Baptiste Lebigue. "Jean de Berry à l'heure de l'Union. Les Très Riches Heures et la réforme du calendrier à la fin du Grand Schisme." Eglise et Etat, Eglise ou Etat ? Les clercs et la genèse de l'Etat moderne, edited by Christine Barralis et alii. Paris, Publications de la Sorbonne, Ecole française de Rome, 2014, p. 367–389.

title: Très Riches Heures du Duc de Berry


text:
User:Izogi

Dear everybody.

My name is Mike. I live in a house. It has windows and doors, floors, a ceiling and a roof. Sometimes I leave the house and go to other places. Usually I come back sooner or later, and often I go out again having returned prior to leaving.

I live in Wellington, New Zealand, where I recently completed a Master of Science, in Computer Science, at Victoria University. Now I work as a software developer and people pay me money. When I'm not working though, I spend a lot of time divided between playing Ultimate, and getting involved in the local amateur astronomy scene. My current aim is to get much more involved in tramping, primarily to get a better look at some of the awesome places around New Zealand.

Stuff I've done
I'm generally happy to roam around randomly, helping to tidy up pages, fix grammar and things every so often where it looks like it's needed. The articles that I spend the most time on and contribute to more majorly tend to be in topics related to astronomy. For instance:

 * Amateur Astronomy (heavily refactored and expanded)
 * Carter Observatory (new)
 * Charles Gifford (new)
 * Eyepiece (new)
 * Gifford Observatory (new)
 * John Dobson (astronomer) (heavily refactored and expanded)
 * Light pollution (heavily refactored and expanded)
 * Night sky (new)
 * Radio spectrum pollution (new - but so far it's just a stub)
 * Star hopping (new)

Other articles I've had a significant influence on have been:

 * Fidonet (contributed lots)
 * Guy Fawkes and Gunpowder Plot (lots of restructuring and refactoring)
 * Cave Creek disaster (fixed a couple of minor errors and added detail)

Stuff I'd like to do

 * Consolidate Telescope mount, Equatorial mount, Altazimuth mount and Dobsonian somehow. I'm not exactly sure how at this point, but it seems a bit messy given that they're all relatively short articles.
 * Make a comparison article or template for different lighting types. (See /Lighting Type Comparison Experiment.)

Stuff I'd like to remember about for later

 * The New Zealand Wiki Portal

title: User:Izogi


text:
Talk:Portuguese language/Archive 2

Orthographic Agreement
The orthographic agreement was not an attempt. It is an international agreement, it take its time, like most international agreements! (the euro was to enter into circulation in the eighties or 1997, but it only came to exist in 1999, and in 2002 - physically) The last review of the agreement was in 2003! Brazil pressed the African countries in April 2003 to retify the agreement. The Africans didnt accept because the agreement didnt accepted Mozambican and Angolan lexicon, and they say that Portugal was more interrested to accept Brazilian conditions than theirs (unofficially Africans say: "because they are both white!"). Plus... Brazil lexicon will only change less than 0,4% and the Portuguese and African will change, more or less, 2,5%. Brazil gave the idea to create the "Instituto Internacional de Língua Portuguesa" (international institute of Portuguese language) that has its headquarters in Cape Verde, at middle distance from Portugal and Brazil. The agreement interrest is due that international companies are making two versions of documents and software for the language and the language is undervalueted internationally. And this is the first agreement that has 7 countries ratifying (except for East Timor, not independent at the time, Galicia is an observer). The past ones, only got two! It is not the work of Linguistic Puritans. It has more to do with economy, culture and globalization.Pedro 14:57, 6 May 2004 (UTC)

All that may be true, but the agreement was made without general consultation in Brazil, and it is already considered dead letter here. The person charged with negotiating, Antônio Houaiss, was respected as a lexicographer, but known for having no feeling for expression and to be a Purist, not Puritan. The reform is considered to gain no benefits for Brazil, to have a huge cost, a huge potential to confusion, and even to introduce inconsistencies -- we are quite proud about the regularity of our ortography.

In Brazil you have to take in account the huge distance between government and people.

So I would ask you to reintroduce my text.

Also, the idea that Brazilians speak a dialect of Portugal is even considered funny here. We consider to have an accent, to have forgotten some grammar and to have some vocabulary differences, but that's all. Before TV we did have dialects, and perhaps still have, but they are quit more different from mainstream Brazilian Portuguese than Brazilian Portuguese is from European one.

How can it be a "dead letter" (letra morta) if Brazil approved? It is already on the Brazilian law, waiting that Angola, Mozambique, Guinea Bissau and São Tomé approves. It is waiting like Portugal and Cape Verde are. Cape Verde approved very recently. Brazilian Portuguese is the carioca dialect (Rio de Janeiro) what was decided to Brazil in early 20th century, even if the dialect of São Paulo is also popular. That's why it seems different to you. That also happens in Portugal, but due to information anyone has that kind of opinion. When I was a kid, I normally wrote Church as “igreija”, it was difficult to other and me from the north of Portugal to write “igreja”. We pronounce the “ê” as “ei”, but the pronounciation of the ê differs a lot in here, Write about your dialect (or “sotaque” – accent - has you prefeer) in Portuguese dialects. But we don’t understand that what we speak is different of what we write. There are big differences, why we write an “o” in the end of a word, when we all pronounce as “u”? Antônio Houaiss is one of the best Brazilian lexicographers. He made to put in a dictionary every lexicon that he found in Portugal, Brazil and Africa. It was a best seller, in here [Portugal]. No one in Brazil makes any idea of an agreement. And its cost, can’t be high cause what will change to Brazil will be accent marks, that’s why I don’t understand your point. As far as I know there was any protest against the agreement in Brazil, maybe some isolationist and nationalist Brazilians do it on the Internet, but they don’t represent anyone except themselves. The problem that you pointed there is for the African countries, not Brazil. I think you have your POV, but Brazilian authorities contradict what you said. And its true that the most difference in dialects in Brazil is between rich and poor. The rich people socialet (dialect) of Brazil, especially in writing is very hard to see a difference towards the Portuguese of Portugal, I only notice when they write "ação" instead of "acção", etc. And in the speech, that also happens, but we can easily tell. If you know European Portuguese, who know that we also don’t pronounce the first "c". That's a deaf letter. When someone in Brazil razes that they use "a gente" instead of "nós" (what occurs in vernacular Portuguese of Brazil) to be a difference towards Portugal, they forget that that “mistake” also happens in Portugal. In reality, they don’t forget, they just open a Portuguese website, or something and compare. They don’t know, I saw a Brazilian linguist work about differences between the two variety, but they said that didn’t went to Portugal to study the Portuguese dialects (???!!!).

Although I normally say "Eu te amo" I dont write it that way, I write "Eu amo-te". Most of the time "te" floats to the left of the verb when a negation occurs (obligatory). Most of the supposed difference is artificial, raised by People that never eared other dialects. And Brazilian Portuguese is only considered a variety because of the writing form. A study by an American that was curious about what is said on the net went to Brazil to study the language. He concluded that Brazilian Portuguese differs less towards European Portuguese than American English towards the British. If we don’t protect a language, there would be no use for schools and we would talk like monkeys. A language is a living being. We in Portugal have a better view of the various Portuguese dialects. Because of it’s a small country, we easily eard other (Portugal) dialects and because of inmigration we eard the other dialects from all the former colonies, we have Brazilian TV Channels and we have a Channel for the African countries, that includes Angolan shows, etc. There is a very big Brazilian community in Portugal, and most are from Minas Gerais, Rio de Janeiro and São Paulo. Brazilians in here never raise that linguistic “problem”. Even Brazilian lexicon is not a difficulty, nether the Portuguese for Brazilians. I think the same should happen in Brazil, to stop thinking non-sences. Variety exists, because it is a living language. And, there’s no problem about that, and this is not the first ortographic agreement between the two countries.

We also in Portugal dont undestand that we dont speak dialects but "accents". Pedro 19:34, 17 May 2004 (UTC)

 * Pedro, I am Brazilian and I can say that the last orthographic agreement was largely ignored by the people. Perhaps my view is skewed (I am 53, already into the "who cares" age), perhaps this is a consequence of the deterioration of public schooling in Brazil over the last 20-30 years (many university-level students still make ss/ç spelling errors), perhaps (as the other person above said) the problem is political (Houaiss vs. Aurélio Buarque, or whatever). In any case most people here (even college professors) have hardly heard of the latest reform, and would be hard pressed if you asked them what it was about. Most people here still use the "trema", for instance. (BTW, this morning I spotted an "ambigüa" in the Folha de São Paulo, one of the leading newspapers).

 * And frankly, the latest reform was just stupid: for the cost of a full-scale reform, we got practically zero benefits. In fact, the abolition of the trema was a step backwards -- it only made the spelling even less phonetic thanit was.

 * I can appreciate the effort of the international committees in trying to keep the spelling unified in spite of the major differences in pronunciation between the various "dialects". However, you must realize that this battle will eventually be lost.  As you must know, European portuguese has largely lost the pre-tonic vowels, so that even syllable counts are now different from those of Camões time.  On the other hand. Brazilian portuguese is evolving in a different way, by truncating final sounds. Thus what is written "cantar" is pronounced something like "cntaire" in one dialect and "cantá" in the other).  I see two ways out: either we abandon any pretense of phoneticism and freeze the present spelling as a "logographic" ortography (as English did), or we do a real spelling reform and accept two or more spelling standards.

 * All the best, Jorge Stolfi 17:18, 18 May 2004 (UTC)

 * A few words in Portuguese: «Olá Jorge!! Gostei do que escreveu no artigo, ficou bem melhor do que estava antes, agora temos um artigo mais suave e coerente.» Different pronunciation exists since always, Portuguese is not different. I agree a lot with you. You seem very wise. But the agreement is not yet in force, at least in here, and by the rules, anywhere. We still write "acção" and "actor". It is also ignored. People used to talk a lot in the beginning of the 1990s. But because of the long time... most forgot. I forgot! But I think that is good, difficult and necessary for the language to be better accepted internationally. It will make to us in Portugal, a difference, but we are used to it now. Lots of things changed in Portugal in the last decades, almost everything, the last one was the Euro, for instance. Everyone was afraid of it, because the coins are very small, and some values are very high, especially in banknotes. but today, 2 years after, anyone thinks in that. Now, we are a completly different country. For the language, Portuguese has another problem, it is used by countries that are very distant from each other. Possibly because, the language give a sence of unity, where it is spoken, especially in Angola. By two motives, the different tribes try to be the best, and if some tribe gains status, they get crazzy, so Portuguese as official, is very important to that country, that has a side problem, Angolan parents do not teach their children their native language, because they want to their children to be the best when comparing to other tribe's children. The USA even wanted for the country to be splitted when it was at war. They got really mad with that. But that creates a problem, there is no close interaction between two Port. speaking countries -- They don't share any border. What happens with the other most spoken languages. Thus, people get a sence of isolation, felling different and alone. «Foi bom falar consigo!» -Pedro 19:29, 18 May 2004 (UTC)

 * Just a fresh information from Fortaleza, Brazil where the Education Ministers of CPLP are meeting: the ortographic agreement will be approved by East Timor and it will be changed, so that Portugal, Brazil, Cape Verde and East Timor will start to use it very soon. This comes after appels from East Timor. The African countries will also probably accept (not clear) this modification even if it will not be in law (Portuguese is a language ruled by Law). The entrance into practice of the Agreement will be discussed in the summit of São Tomé and Príncipe, during this Summer.

Article split
Maybe its time to split these page, its above 40 kbs. I suggest a series of articles. What do you say (Pedro??) MvHG 15:06, 17 May 2004 (UTC)

 * I'm already doing it. Using "main article". As being a "series" its a bit strange, because an Encliclopedia doesnt work like that. maybe we can use it like we use "main article". I think we should base the article on the English language article. What i'm trying to do.Pedro 19:33, 17 May 2004 (UTC)

Unclear sentences in Africa section
I think that I can support Portuguese for featured article status, though it still needs a little grammatical work, and I've already made some minor edits. However tow sentences seem rather unclear to me.
 * 1. There is some decreoulization due to education and Portugal's national TV channels are a Capeverdian fever, but it is believe that the Creoles will be maintained.
 * What is Capeverdian fever, is that some phrase elaborating on how popular Portugal's TV is. I understand some the influece from Portugal has an effect on the creoles, and that it is generally thoug the creoles will surrvive.
 * Are you trying to say this:
 * There is some decreoulization due to education and the "Capeverdian fever", the poularity of Portugal's national TV channels. However, it is believe that the Creoles will be maintained despite those influences.
 * Yes, that's correct! Portuguese national channels are watched in Cape verde, at first with the objection of the government due to law, but now accepted because many municipalities offer the Portuguese national channels (RTP1, 2, SIC, TVI) + the cable sport channel (SPORTV). -Pedro 22:35, 23 May 2004 (UTC)
 * The fever is buying means to get access to the Portuguese Channels and more and more municipalities are getting that means to gain votes. It is believed that the creoles will be maintained because their are linked to culture. Their are all bilingual, Portuguese reinfluenced it a bit.--Pedro 00:53, 24 May 2004 (UTC)
 * 2.The younger Portuguese socialet is very similar to Angola's Portuguese dialect, due to that influence.'
 * I really have no idea what you are tyring to say, unless a socialet is some linguistic terminology I'm not familiar with. The only other thing I could think of was that you we're trying to say this:
 * The young Portuguese socialite is very familar with Angola's Portuguese dialect....?
 * The younger Portuguese population uses lexicon (many words) of Angolan Portuguese. Thx for the corrections. -Pedro 22:35, 23 May 2004 (UTC)
 * Your welcome! Perhaps you could help me out by helping me translate the English verison of Marshall, Texas and expand the Portuguese version of that article.
 * -JCarriker 01:12, May 24, 2004 (UTC)
 * P.S. You may want to consider archiving some of this ralk page. you can do it by cuting some of the text from this page and pasting it at Talk:Portuguese language/archive1 and placing a link to the archive at the top of this page.

- Please help me to understand what you meant by these phrases. -JCarriker 20:28, May 23, 2004 (UTC)
 * I Agree.-Pedro 14:25, 26 May 2004 (UTC)

Other
"cerrar" is correct portuguese. look up in your dictionary. Haven't you ever heard anything like "os jogadores tentam cerrar mais a barreira"? granted, encerrar is more commun, but cerrar is closer to the given spanish word, that's why I thought it was more appropriate. --Cataphract 23:05, 3 Jun 2004 (UTC)
 * you are correct, but i've never heard anyone saying "cerrar janela". for me, it doenst make sence, while "encerrar janela" makes and, rarely, is used. cerrar is used, as you said, to the process of joining, by both sides, we say "cerrar os olhos" ('almost-closing' the eyes) (is not closing, but almost closed) while "encerrar os olhos" (closing the eyes). What do you think? :\ I really dont know. --Pedro01:02, 5 Jun 2004 (UTC)

Arigato
'Also, many words of Portuguese origin entered the lexicons of many other languages such as "arigatô" to mean "thank you" in Japanese (from "obrigado")'

I believe it has been proven that arigato gozaimasu (thank you) was in use in Japan long before contact with the Portuguese. However, Japanese does have words of Portuguese origin ... I do not know Portuguese so I cannot verify the accuracy of the original words. In Japanese they are: kappa (raincoat), karuta (playing cards), tabako (cigarettes/tobacco), pan (bread), and botan (button) to name a few. CES 00:22, 16 Jun 2004 (UTC)

 * that is not what I came to know in a Investigation in Japan some years ago, that clearly stated that the japanese did not had a word for "thank you", so they used the Portuguese. Different cultures does not allways have a word for a given concept. We are talking about a contact made since 1543 and Portugal made great influence in the country, visible even today in a village in South Japan. There is also Bidoro (from Vidro - glass), saya (from saia - skirt) and some more.

for information:
 * Japanese - Portuguese
 * kappa - Capa
 * karuta - Cartas
 * tabako - tabaco
 * pan - pão
 * botan - botão

"ão" in portuguese is a nazalized sound, should not be read as "ao" but as "ang". If not... the word is very similar to the Portuguese, a coincidence? What I know it came via Portuguese, if you say it aint then you may have info on that. --Pedro 02:02, 16 Jun 2004 (UTC)

Arigato/Obrigado appears to just be a coincidence

I am not a linguist, but looking around on the internet at both Japanese and English language sites (sorry I don't read Portuguese or I'd check them too!) it appears that there is a concensus among linguistics experts that the relationship between arigato and obrigado is nothing more than a curious coincidence.

The word appears in works such as the Manyoshu (8th c.), Tale of Genji (11 c.), and Tale of the Heike (13-14 c.?) and the original meanings include "unlikely to be" "rare" "welcome".

Interestingly enough, there are several (Japanese) amateur sites that claim obrigado is from Japanese, not the other way around! This appears to be false as well, as it appears obrigado is from the Latin obligare.

Some references:

Linguist List Brazzil.com Forum 語源由来辞典(sorry Japanese only!)

CES 00:26, 17 Jun 2004 (UTC)

The connection between arigato and obrigado seems tenuous at best so I edited the article by substituting arigato/obrigado with pan/pão, whose etymology is confirmed as Portuguese in origin.

CES 00:12, 18 Jun 2004 (UTC)
 * the second source of yours is unreliable, completly. that's a funny website (especially its forum in Portuguese), but dont use it for learning Portuguese from elsewhere or info about the language. I've read the first, I dont know if that is reliable (I dont go for info on Portuguese on english language, I've seen terrible things in the net in English for Portuguese). You've done the best. -Pedro 10:13, 18 Jun 2004 (UTC)

 * Yes "obrigado" is an obligation, because you are oblied to respect the other when he helps you. We also have "agradecido" (but noone uses). I want more info on that, I'm not convinced yet. When doubt occurs the better is to use another example. Are you japanese? It also seens a coincidence in Japanese words. I'll try to find documents from that time, from the Portuguese saylors in Japan. --Pedro 10:20, 18 Jun 2004 (UTC)

I realize that second site is of questionable reliability ... my aim was to show a variety of sources rather than provide a definitive answer. But my main point is that linguistics specialists in both English and Japanese (and remember that the Portuguese word is not in question here, the Japanese one is) rule out a link between the two. Do you have any sources that show a connection? The Portuguese and Japanese have had a long history together ... even if "arigato" did not come from "obrigado" perhaps there were some influences in its usage? In one of the Japanese sites I read, it mentioned that the use of "arigato" spread in part through Buddhist teachings ... perhaps Catholics influenced this religious usage? It's probably just a coincidence, but an interesting one. Does anyone else have any insights on this? CES 23:58, 20 Jun 2004 (UTC)

«Posted: Wed Nov 19, 2003 12:50 am   Post subject: Re: portuguese words in japanese
 * but in that second souce a guy from Portugal has the same opinion than me, he has my name, but he's not me.

Don't forget the obvious 'Arigatô' for 'Obrigado'» posted by Pedro Ceci (thats not me believe me)

The problem with Brazzil.com is a forum of love and hate between Portuguese people and Brazilians. And they are now in the time of "I love you" some months ago they were into "I hate you". I just go there to see and I post one/twice has a guest. Try two find more credible sources. I heard that in a investigation made in japan, but because it was donne by a TV station, them we also have a doubt. Pedro 01:14, 21 Jun 2004 (UTC)

SAMPA/IPA
Many SAMPA sounds that was in the article since yesterday were wrong (especially vowels). I'll also include IPA (using its images, that are prettier and everyone supports). I used IPA in preference to SAMPA. What do you think? .-Pedro 11:24, 18 Jun 2004 (UTC)
 * Now the article is fine! It's a pitty that in the article about sampa it doesnt have sound files.-Pedro 16:15, 18 Jun 2004 (UTC)
 * I was the one who made the change to SAMPA yesterday. Frankly I wasn't quite sure on many of the sounds myself, having to guess from how they were used in English. Poccil 16:59, Jun 18, 2004 (UTC)
 * Yeah. But thanks to you now the article is better, Previously was with English language examples to help people learn it simply.
 * Thought I had a lot of work. But it was not difficult cause I had two sources for making it (not very good) and I used what I know about both Standard Portuguese (and the language it self), I hear a lot both. I'll consult a work that was done in Rio with Lisbon about the Portuguese varieties, and see if everything is correct in the article. I think it is. -Pedro 18:33, 18 Jun 2004 (UTC)

title: Talk:Portuguese language/Archive 2


text:
Nevada State University

Nevada State University (NSU), formerly Nevada State College, is a public college in Henderson, Nevada. It is part of the Nevada System of Higher Education and opened on September 3, 2002, as Nevada's first state college. The university is a designated Minority Serving Institute, Hispanic Serving Institution, and Asian American Native American Pacific Islander Institution. Its main campus is located on a 509 acre site in the southern foothills of Henderson.

History
In 1999, the Nevada Legislature created the Advisory Committee to Examine Locating a 4-Year State College in Henderson, Nev. In December 1999, the Nevada Board of Regents approved the establishment of Nevada State College.

In February 2000, the committee recommended the new institution be named Nevada State College at Henderson. The committee members determined Henderson should be part of the official name as they felt additional state colleges would be created in the state. Later that month, the Henderson City Council, after having evaluated several potential sites, voted to locate Nevada State College northeast of Lake Mead Drive and Boulder Highway that was to be part of The LandWell Company's Provenance master-planned community. In March, James Rogers, owner of several television stations and later chancellor of the Nevada System of Higher Education, agreed to chair the college's foundation.

Opponents of the creation of Nevada State College feared at the time that its creation would take resources from UNLV. However, proponents of the college argued the "proposed college would be up to $3,000 cheaper than educating them at the University of Nevada, Las Vegas. The savings would come from smaller salaries for professors, who would teach four classes (per semester), rather than the three or fewer taught by UNLV professors."

In April 2000, the Board of Regents voted 8-3 to begin negotiations for the Boulder Highway / Lake Mead site despite some concerns that the site was near a permanent toxic waste storage facility. The original site of the college, first proposed in 2000 and on approximately 300 acres northeast of Lake Mead Drive and Boulder Highway near downtown Henderson raised environmental concerns as it was approximately one mile from a toxic waste storage facility, which prompted the Nevada Board of Regents in 2001 to select the college's present day site located west of U.S. Highway 95 in what was once the Wagon Wheel Industrial Park. In June 2000, the Regents requested $5.2 million for start-up costs for the campus and $7 million for instruction costs for its first cohort of students in 2002-03 as well as $43.5 million for capital construction which was to include a library. Nevada Gov. Guinn's 2001-2003 executive budget, which was developed later in 2000, reduced the Regents' request by recommending "$22.8 million in state funding, 6.8 million to open it to 1,000 full-time students in the fall of 2002, and $16 million to help construct the first campus building."

Nevada State College opened in 2002. The college acquired accreditation, moved with its master plan for a 509 acre campus, and its first permanent building, the Liberal Arts and Sciences building, opened in August 2008. In 2008 Nevada State College launched a campus-wide recruitment and retention initiative. Between the Spring 2009 and Spring 2010 semesters, Nevada State College increased enrollment by over 20%, to over 2,600 students.

Among the different educational institutions of the NHSE, the largest 2009 budget cuts by the state legislature were for Nevada State College at 24.1%. Neighboring College of Southern Nevada had its budget cut by only 4.9%. Students protested the cuts which left student services understaffed and about 25% of the university's teaching and administrative positions vacant in 2008. The Nevada System of Higher Education faced a $900 million budget deficit and there were proposals to close down Nevada State College along with other NHSE programs and schools.

DeRionne Pollard became Nevada State University's eighth president on August 16, 2021. She was the first Black female president within the Nevada System of Higher Education.

In March 2023, the Nevada Legislature introduced legislation to change the school's name from Nevada State College to Nevada State University. The legislation passed that June; the name change took effect on July 1, 2023.

Campus
Nevada State University's 509-acre site is located at the base of the McCullough mountain range in the southeastern corner of Henderson. The site was conveyed from the Bureau of Land Management to the city of Henderson in November 2002 as part of the Clark County Conservation of Public Lands and Natural Resources Act of 2002.

The college opened its first permanent building, the Liberal Arts & Sciences Building, on its 509-acre site in August 2008. The 42000 sqft building has faculty offices, labs and seven classrooms. The building includes SMART classroom technologies which allow professors to use a wide array of audio and visual teaching techniques, and scientific equipment for educational use.

In addition to the Liberal Arts and Sciences Building, NSU has also opened the Bob and Allison Kasner Academic Building (formerly known as Nursing, Science, and Education) along with the James E. and Beverly Roger's Student Center. The future Christenson Education Building and the Student Village dorm buildings are currently under construction. NSU currently leases the Dawson building on Nevada State Dr. which was originally the only building when the college opened, and purchased the J. Russell and Carol Raker Student Success Center on Paradise Hills Dr. which contains the financial aid office and student advising. NSU no longer leases two auxiliary buildings in downtown Henderson on Water Street.

On-going campus planning activities
In 2010, the Nevada Board of Regents approved the college's campus master plan, which calls for the development of roughly six million square feet of academic, residential, retail, and cultural space by full campus build-out in order to accommodate 25,000-30,000 students.

Sustainability Initiatives
As it relates to sustainable planning and design, NSU's campus master plan is informed by three central goals: (1) achieve operational carbon neutrality, (2) become a model of sustainable development for the city, county and region, and (3) enable the campus to serve as a learning and training tool for topics related to sustainable development.

Academics
NSU offers one Master's degree, the Master of Education in Speech Language Pathology, and many bachelor's degree programs. In the Fall of 2008, Nevada State College launched Nevada's first bachelor of science degree in the education of the deaf and hard of hearing. The program addresses the deaf culture and its integration of deaf students into specific subject areas. The college's academic programs are housed in one of three schools: the School of Liberal Arts & Sciences, the School of Education, and the School of Nursing.

Nevada State College also partners with Touro University to accommodate students in Occupational Therapy. Through the partnership, students complete three years of their bachelor's degree in Occupational Therapy Science at Nevada State College, then transfer to Touro University for the final two years.

Accreditation
When it originally opened, Nevada State College operated under the accreditation of the University of Nevada, Reno. In 2011, Nevada State College received independent accreditation at the baccalaureate degree level from the Northwest Commission on Colleges and Universities.

title: Nevada State University