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LEADER 00000cz  a2200301n  4500 
001    53897 
005    20140718112739.0 
008    800328n| azannaabn          |a ana       
010    n  80017856 
035    (OCoLC)oca00400268 
035    (DLC)n  80017856 
040    DLC|beng|erda|cDLC|dWaU|dDLC|dLNT 
046    |k14 
110 2  Catholic Church.|tBook of hours (Manuscript Rohan) 
370    |cFrance|gAngers (France)|2naf 
380    Books of hours|2lcsh 
410 2  Catholic Church.|tBook of hours (Manuscript Bibliothèque 
       nationale de France. Latin 9471) 
410 2  |wnnaa|aCatholic Church.|kLiturgy and ritual.|tHours (Ms. 
410 2  |wnne|aCatholic Church.|tBook of hours (Ms. Rohan) 
500 0  Rohan Master,|dactive 15th century.|tHeures de Rohan 
530  0 Rohan hours 
667    Heading represents the textual contents of the manuscript;
       for the manuscript as a physical entity, use: Rohan hours 
       (no2008129601); for the illustrative matter of the 
       manuscript with commentaries by Millard Meiss and Marcel 
       Thomas, published in French, use: Rohan Master, active 
       15th century. Heures de Rohan (no2008129603). 
670    Rohan Master, 15th cent. Les heures de Rohan, 1973. 
670    Wikipedia, Sept. 4, 2008|b(The Grandes Heures de Rohan 
       (The Grand Hours of Rohan; Bibliothèque Nationale, Paris, 
       M.S. Latin 9471; commonly known as The Rohan Hours) is an 
       illuminated manuscript Book of Hours, painted by the 
       anonymous artist, the Rohan Master, between 1430 and 1435)
670 Web site, Sept. 4, 2008|b(Master of the Rohan 
       Hours (fl c. 1410-40). ?French illuminator. He is named 
       after his contribution to the illumination of the Rohan 
       Hours (Grandes Heures de Rohan, c. 1430-33; Paris, Bib. N.,
       MS. lat. 9471) 
670    Porcher, Jean. The Rohan book of hours, 1959:|bp. 5 
       (Yolande of Aragon, niece by marriage of Jean de Berry, 
       wife of Louis II, King of Sicily and duc d'Anjou; ordered 
       a book of hours from her court painters, probably intended
       for  her eldest son Louis, heir to Duchy of Anjou and 
       Kingdom of Sicily after death of Louis II in 1417) p. 6, 
       etc. (Heures de Rohan, as they were later to be called; 
       one of the works done by the Rohan Master for the family 
       of Anjou; made shortly after 1416, probably about 1418-
       1425; name derives from the coats of arms of Rohan, which 
       were a later addition; these hours are, by rights, Heures 
       d'Anjou; [liturgy] follows the Use of Paris, not that of 
       Angers, but the precise use was of secondary importance 
       for a family which divided its time between Paris and its 
       estates in the provinces; the Rohan Master probably worked
       in Paris during formative years, then his atelier de Rohan
       must have moved to Angers) 
670    The Rohan Master, 1973:|bt.p. (a book of hours; 
       Bibliothèque nationale, Paris (M.S. Latin 9471)) 
       Introduction I / by Millard Meiss, p. 9, etc. (Grandes 
       heures de Rohan; Rohan hours; work done after 1415-1416; 
       between 1419 and 1427, the years when evidence of style 
       indicates that the Rohan hours and the manuscripts most 
       closely related to it were illuminated; connections of the
       Rohan hours and similarly late manuscripts by the Rohan 
       workshop with the Duchesse Yolande of Anjou, wife of Duke 
       Louis II, nephew of [Jean] Duke of Berry; Jean Porcher 
       proposed that Yolande invited the Rohan Master to Angers; 
       the Rohan Master perhaps worked in Angers and for a time 
       between 1423 and 1427 in Bourges; prayers in the Rohan 
       hours are for the use of Paris, from which may infer only 
       that the original owner was attached by residence or 
       sentiment to the Parisian region; prayers are in masculine
       form; work might have been made for Charles, Dauphin of 
       France and Duke of Berry, from October 1422 King of 
       France; scholars are agreed that the Rohan Master himself 
       painted only a small number of the miniatures in the 
       Grandes heures) Introduction II / by Marcel Thomas, p. 19,
       etc. (traditionally known as Grandes heures de Rohan; date
       remains very uncertain; certain indications might permit 
       us to assign it to a date slightly prior to 1425-1430; 
       first third of the 15th century; each marginal painting 
       accompanied by a legend in Old French; likely that Yolande
       of Aragon commissioned the work; must have intended to 
       present it to some important member of her family, rather 
       than keep it for herself, since the prayers are worded in 
       the masculine form; often thought for one of her two sons,
       Louis or René; could just as well have been made for 
       Charles, Dauphin of France and Duke of Berry, from October
       1422 Charles VII, King of France; the arms of the Rohan 
       family have been superimposed, at an undetermined date, 
       upon the original illumination; passed into the hands of 
       one of the members of the House of Rohan, whose name 
       became irrevocably attached to the manuscript, even though
       the designation Hours of Yolande of Aragon might seem more
       appropriate today) 
670    Oxford art online, 11 June 2014:|bMaster of the Rohan 
       Hours (Rohan Hours (Grandes Heures de Rohan, c. 1430-33; 
       Paris, Bib. N., MS. lat. 9471), which contains the arms of
       the Rohan Family on several pages, although it is not 
       certain that these arms are original; several scholars, 
       including Avril, associate the production of the Rohan 
       Hours with the Angevin court and with Yolande of Aragon, 
       wife of Louis II, Duke of Anjou; it is thought that 
       Yolande may have commissioned the Rohan Hours in 1431 to 
       celebrate the marriage of Charles of Anjou, Comte du Maine,
       to a daughter of Alain IX de Rohan (the marriage, however,
       never took place); the Master was involved in the Rohan 
       hours during the period of the climax of his career; 
       scholarly opinion favours Angers and the Angevin court as 
       the centre for these activities, although Meiss (1974) 
       suggested Bourges; Meiss also indicated an earlier date, 
       in the 1420s, for the Master's mature period; but Avril 
       argued for 1430-40, on the grounds that the Hours of René 
       of Anjou are dated by internal heraldic and historical 
       evidence to 1435-6)