#ferdinand duke of calabria

[kingslionheart]

David breaking the fourth wall while playing Ferdinand in The Duchess of Malfi - Shakespeare's Globe, 2014

[mydaddywiki]

Prince Carlo, Duke of Castro

Physique: Average Build Height: 6'

Prince Carlo of Bourbon-Two Sicilies, Duke of Castro (Born 24 February 1963) is one of the two claimants to the headship of the former House of Bourbon-Two Sicilies. Born at Saint-Raphaël, Var, France, as the only son of Prince Ferdinand, Duke of Castro, and his wife, Chantal de Chevron-Villette. Carlo succeeded to his father's claim as head of the House of the Two Sicilies in 2008 and the use of the title Duke of Castro. This claim is disputed by the Spanish branch of the House of the Two Sicilies.

A damn good looking man who looks like he would be a great fucker in bed. Every time I saw his pics… instant hard on. But I kept forgetting to look up his name until now.

Well, Prince Carlo is married to Camilla Crociani, together they have two children: Princess Maria Carolina, Duchess of Calabria, Duchess of Palermo and Princess Maria Chiara, Duchess of Noto, Duchess of Capri. Why wouldn’t a good looking man like him not be tied down to someone. And it looks like I’ll never get a shot at him alone as his wife is always on his arm.

Seriously, about 95% of the pics I found of him, she’s on his arm. But I don’t blame her though. I’d have him near me constantly too. I’ll just have to settle for a 3-way with the Prince & Princess of Bourbon-Two Sicilies. What? He’s French, so clearly its an option.

[calabria-mediterranea]

Acri, Calabria, Italy

Acri in Calabria is sometimes described as the "door to the Sila mountains", yet the town appears impenetrable which could be due to a long history of violence.

In the Middle Ages, during the reign of the Norman King Federico II, Acri enjoyed a period of relative peace and economic prosperity, and it became an important centre for the silk trade.

In the 15th century, the power struggle between the French House of Anjou and the Spanish Crown of Aragon nearly destroyed the town. In 1462, a local duke obtained permission from the Aragonese King Ferdinand I of Naples to collect taxes in Acri. When people protested and proclaimed loyalty to the former Angevin rulers, they were seized by troops from the Aragonese army.

Even at that time, Acri must have seemed impenetrable to outsiders, for the Spanish soldiers failed to take the city, until they found a traitor who revealed the secret signals that opened the city gates. The soldiers attacked Acri with incredible cruelty, and it is estimated that 2000 citizens lost their lives. Women and children who had taken refuge in the church of Santa Maria Maggiore were burned to death, and the leader of the guards was publicly sawed in four pieces while still alive, and the limbs were exposed from the four towers of the castle.

Such history of violence is in stark contrast to the quiet peace you can experience today in Acri. But the ruins of the old castle with its one remaining tower still hover over the city as a reminder of times gone by.

Photos by Italian Notes

Follow us on Instagram, @calabria_mediterranea

[andiatas]

Due to @charlotte-of-wales posts about Prince Michael of Kent in St. Tropez, I once again fell down the rabbit hole of "wait what exactly is it those two men are arguing about again in regards to the House of Bourbon-Two Sicilies?" (I fall down this rabbit hole basically every single time the Duke & Duchess of Castro & their children pop up on my radar, which is more often than I like because unfortunately, they are good at Instagram)

So let's bring it back to 1934, Prince Ferdinand Pius become head of the House & pretender to the throne (since the Kingdom of the Two Sicilies doesn't exist). He had six children and one of them was a son, unfortunately, that son died already in 1914. This means that when Prince Ferdinand Pius died in 1960, we had a succession crisis because he had no male descendants. I'm just gonna quote Wikipedia here:

Ferdinand Pius had seven younger brothers. At the time of Ferdinand Pius's death in 1960, the oldest brother, Carlos was deceased but had left descendants. The next surviving brother was Ranieri (Duke of Castro). By the rule of primogeniture, headship would normally pass through Carlos to his son Alfonso (Duke of Calabria).

Ranieri contested Alfonso's claim arguing that Carlos had renounced any claim to the Two Sicilies succession on the part of himself and his heirs when he executed the Act of Cannes in 1900 in anticipation of his marriage the next year to Mercedes, Princess of Asturias, heiress presumptive to the Spanish throne.

Alfonso offered a different interpretation of the Act of Cannes, describing it as effective only if Carlos should succeed to the Spanish throne. He also took the position that the Act of Cannes was invalid under the succession rules of the House of Two Sicilies itself since these laws provided only one, specific reason for a renunciation and that was in the event of the Spanish and Two Sicilies crowns being united in one person - which has not happened since 1759.

Despite an investigation by five of the highest institutions of the Spanish state having concluded unanimously that the legitimate claimant was the late Carlos, Duke of Calabria, the junior line (the Castrian line) continues to perpetuate its claim

I know, I know, one shouldn't just take what Wikipedia says as truth but they're using this book as a source. Feel free to read it & fact-check me if you want & have the energy to.

Now fast forward to today, we have the two claimants: Prince Pedro, Duke of Calabria; and Prince Carlo, Duke of Castro. Prince Pedro has seven children, the oldest being Prince Jaime, Duke of Noto, who you might remember from his wedding to Lady Charlotte in Sep. 2021. Prince Carlo has two daughters, Princess Maria Carolina (apparently she's Duchess of Calabria and Palermo) and Princess Maria Chiara (who apparently is Duchess of Noto and Capri). So as you can see, we don't just have a fight regarding the headship... we also have a fight regarding the Calabria & Noto titles!

This all leads us to the next part of this juicy ridiculous stupid drama. Take it away Wikipedia:

At the Holy Mass in Saint Peter's Basilica celebrated in Rome on 14 May 2016, during a Pilgrimage by members of the Constantinian Order awarded by Prince Carlo to Rome and Vatican City, Prince Carlo made public his decision to change the rules of succession. He claimed that this change was so the rules of succession would be (as he claimed) compatible with international and European law, prohibiting any discrimination between men and women. The rule of absolute primogeniture would henceforth apply to his direct descendants, his elder daughter being named by him as heiress apparent.

Prince Pedro publicly objected that Prince Carlo's declaration violated the terms of their reconciliation agreement, to which Carlo replied that further "destabilisation" could lead to the termination of the 2014 pact. Since the succession rules had been settled in two international treaties, enforced in the Pragmatic Decree of 1759 and incorporated into the laws of the kingdom, it was beyond the powers of any claimant to the headship of the royal house to change the succession. Furthermore, it was in outright breach of the solemn agreement made in Naples in 2014 by which Prince Carlo recognised the late Infante Carlos as "Duke of Calabria", his son Prince Pedro as "Duke of Noto" and the latter's son, Prince Jaime, as "Duke of Capua".

Saga's conclusion: Basically everyone apart from Carlo agrees that Pedro, his ancestors & his son Jaime are the ones who have the right to the defunct throne. Unfortunately, they have a distant relative who can't shut up who has everyone on Instagram convinced, much because of his wife and his daughters, that they are the ones who have the right to the throne. Now, I don't think anyone argues against that Carlo, his wife and his daughter are part of the House, it's just like... Imagine if Edward & Sophie one day just start blasting out on social media & traditional media as well that they are the King & Queen with Lady Louise as the Princess of Wales. I mean, I think all of us would side-eye them & be like "hun, please sit down & stop talking, you are embarrassing yourself"

[codenameantarctica]

David Dawson as ‘Ferdinand, Duke of Calabria’ in “The Duchess of Malfi” by John Webster, performed at ‘Shakespeare’s Globe’

(Part 1 of... we’ll see)

I am blown away by David’s performance in this play. I have always been an avid admirer of fine acting and have enjoyed acting a lot myself. A character like that of Ferdinand with his rage and despair, his envy and madness has always seemed to me like one of the finest roles to play out there.

David delivered this part with a ferocity and fierceness that I think is hard to equal. Holy fucking shit what an actor! Why did I not stumble upon him before?!

(I do not like to create gifs where there’s talking, so a lot of his performance will be missing from these posts. But one of his scenes can be found on Youtube. And access to watch the whole performance can be bought here.)

[roehenstart]

Prince Raniero of Bourbon-Two Sicilies in military uniform, with medal of the Moroccan or Rif Campaign (possibly 1909) and the Order of Alcántara. Photographed by Christian Franzen.

Prince Ranieri Maria Gaetano, Duke of Castro (1883-1973) was a pretender to the headship of the House of Bourbon-Two Sicilies.

He was the ninth son, but the fifth, of Prince Alfonso, Count of Caserta, and Princess Marie Antoinette of Bourbon-Two Sicilies. He served in the Spanish royal army.

After the death of his brother, Prince Ferdinand Pio, Duke of Calabria, on 7 January 1960, Prince Ranieri was declared Head of the House of Bourbon-Two Sicilies by all relatives except Infante Alfonso, Duke of Calabria and his sons, although this senior branch of the Infante's family abdicated their claims to be in line to the Spanish throne.

[dreamconsumer]

Ferdinand of Aragon, Duke of Calabria and Viceroy of Valencia (1488-1550). Unknown artist.

[princessvictoriamelita]

Prince Ferdinand Pius, Duke of Calabria and his bride Princess Maria Ludwiga of Bavaria, 1897.

[tiny-librarian]

A sculpture of Carlo, Duke of Calabria. He was the firstborn son of Maria Carolina of Austria and Ferdinand IV, but died at the age of 3.

Source

[webster-wannabe]

the only thing getting me through these next few months is knowing that i'm gonna be studying the duchess of malfi by john webster before the end of the year

this will be my happy ending to 2020. i adore that play

[thetudorslovers]

"Anxious not to offend the pope, Federigo temporized: ‘It seems to me,’ he was reported by the Venetian ambassador to have said, ‘that the son of a pope, who is also a cardinal, is not the ideal person to marry my daughter. If the Pope can make it possible for a cardinal to marry and keep his hat, I’ll think about giving him my daughter.’ Nor was his daughter happy with the proposed match; not only was Carlotta in love with a Breton nobleman, but she was also determined not to marry "a priest who was the son of a priest."

Charlotte of Naples (c. 1479/80 – 1506), also known as Charlotte of Aragon and Princess of Taranto, was the eldest daughter and eventual heiress of King Frederick of Naples. Although her father was dispossessed of his kingdom, her descendants, the House of La Trémoïlle maintained their dynastic claim in exile. Daughter of the Neapolitan king's first marriage to Anne of Savoy, a granddaughter of Charles VII of France, Charlotte was married to Guy XVI, Count of Laval, head of one of Brittany's most powerful noble families. Following her mother's death which occurred shortly after her birth, Charlotte was raised in France and brought up at the French court. One of her suitors was Cesare Borgia. Charlotte refused him, and instead on 10 June 1500 married Guy XVI de Laval, Count of Laval. Charlotte and Guy had: Catherine, married Claude I of Rieux Anne, married Francois de la Trémoïlle Francois, d.1522.

In the year following Charlotte's marriage, her father lost his throne and freedom to France in war. Her brother, Ferdinand of Aragón, Duke of Calabria, fled to Spain in 1504, whence he did not return. On his death without legitimate descendants in Valencia in 1550, Charlotte was long dead and France had lost the crown of Naples to another branch of the Aragonese dynasty. Nonetheless her issue took up the fruitless pretence to the crown, while pursuing their interests in Brittany and France. Charlotte is posthumously attributed the title, Princess of Taranto, which had been borne by Neapolitan heirs apparent.

"While the ruling families of Milan and Naples should have been frightened and undoubtedly were, for Cesare Borgia the new situation was rich in promise. He remained enthralled by the thought of a princess he had never met, Don Fadrique of Naples’s daughter Carlotta. What he knew of her made her seem the perfect bride: eldest child of a king whose only son was still a boy; great-granddaughter of a king of France; a lady-in-waiting at the French court, where she had been sent to be brought up when her mother died not long after her birth. The man who married her could be confident of becoming one of the leading lords of Naples and of being accepted into the French royal family. And only one life, that of a very young brother-in-law, would stand between Carlotta herself and the Neapolitan crown. Soundings were taken in Naples, and the results were not encouraging: Don Fadrique showed no interest in marrying his daughter to Cesare. The fact that Cesare was a cardinal of the Church is itself sufficient to explain the king’s wariness, but beyond that the summer that Cesare had spent in Naples had obviously done nothing to enhance his attractiveness as a possible son-in-law. Whatever his opinion of Cesare personally, Don Fadrique probably thought that his father Ferrante and brother Alfonso II had bestowed quite enough Neapolitan riches on various Borgias, especially in connection with Sancia’s marriage to Jofrè. But with a new king of France now in the picture, and Carlotta virtually that king’s ward, Don Fadrique’s feelings would not necessarily decide the issue. If Louis could be won over, Don Fadrique might find it difficult not to go along."

"Now it was only a matter of time before he was released from his vows and took Carlotta of Aragon as his wife. His wish to marry Carlotta had nothing to do with love - the princess was being educated at the French court, and Cesare had never seen her. But Carlotta was the legitimate daughter of a king. Marriage to her would make Cesare Prince of Altamura and Taranto, and these territories would provide him with an income sufficient to compensate for the 35,000 ducats a year he was surrendering along with his cardinal’s hat."

Source: "The Borgias: The Hidden History Book" by G. J. Meyer

[archduchessofnowhere]

THE DUKE AND DUCHESS OF CALABRIA.

The Royal personages to whose portraits this article is attached are the Duke and Duchess of Calabria. His Royal Highness is the Hereditary Prince of the Two Sicilies, Duke of Calabria, D. Francisco Maria Leopoldo, eldest son of the reigning Sovereign Ferdinand II. and his first wife, Maria Christina of Savoy, daughter of the deceased King Victor of Sardinia. His Royal Highness was born on the 13th of January, 1836. Her Royal Highness is the Princess [Maria] Sophia Amalia, sixth daughter of their Royal Highnesses Maximilian Joseph, Duke in Bavaria, and of Louisa Wilhelmina his wife, aunt of the reigning King of Bavaria, Maximilian II., and was born Oct. 4, 1841. The marriage of their Royal Highnesses has long been the subject of diplomatic discussion between the two Courts; but the difficulties, whatever they were, having been surmounted, a solemn demand was made for the hand of the Princess on the 22nd of December last by Count Ludolf, Charge d’Affaires of the King of the Two Sicilies. With great ceremony his Excellency was conducted to tne Royal Palace in Munich; and by order of his Majesty was shortly afterwards introduced into the throne-room, where the King, surrounded by the officers of his Court, awaited the arrival of the Minister. The Attaché of the Legation, Signor Bianchim, carried the portrait of his Royal Highness the Duke of Calabna on a velvet cushion. Count Ludolf having made a short address, presented the Royal letter containing the demand for the hand of the Princess to his Majesty, who consigned it to the Minister of State of the Royal household who made a suitable reply. The Master of the Ceremonies then introduced into the Hall of Audience the Duke Maximilian and the Duchess, his wife, and their daughter, the Princess Maria. Count Ludolf also addressed to them a demand for the hand of the Princess; and the Minister of State replied, giving the consent of his Majesty, and afterwards to her Royal father and mother, also gave her assent. Count Ludolf then presented the portrait of the Hereditary Prince of the Two Sicilies to the Princess. Thus ended the act of demand. On the 8th of January the marriage of their Royal Highnesses was celebrated at nine o'clock in the evening in the Royal Chapel in Munich, his Royal Highness the Duke of Calabria being represented by Prince Luitpold of Bavaria. On the following day the diplomatic body were admitted to pay their respects to her Royal Highness the Duchess of Calabria; and in the evening there was a grand fête in the theatre. On Monday, the 10th, there was a reception for the nobility; on Tuesday, the 11th, his Majesty the King of Bavaria gave a grand Court ball; and on Thursday, the 13th, the Princess left Saltzburg, and the following day for Lintz, where she was met by her sister, the Empress of Austria, who would remain with her until she embarked at Trieste for Manfredonia. Most unwillingly would we cast a shadow over the joy of the youthful pair, or utter one word of evil omen on this festive occasion. All happiness and prosperity attend them! May his Royal Highness early acquire a deep sense of the great duties imposed upon him, and labour to deserve a nation's gratitude and love by unwearied efforts to advance the material and social interests of his subjects!

The Illustrated London News, March 5 1859, pp. 219-220

[historywithlaura]

MARÍA ISABEL OF SPAIN

Queen Consort of the Two Sicilies

(born 1789 - died 1848)

pictured above is a portrait of the Queen of the Two Sicilies, by Vicente López Portaña from 1829

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SERIES - On this day September Edition: María Isabel died on 13 September 1848.

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MARÍA ISABEL ANTONIA JOSEFA ANA TERESA FILIPINA was born in 1789, at the Royal Palace of Madrid. She was one of the youngest daughters of Carlos IV, King of Spain and Princess Maria Luisa of Parma.

Born a member of the Spanish branch of the HOUSE OF BOURBON, she was an INFANTA OF SPAIN from birth.

She was married to her first cousin FRANCESCO GENNARO GIUSEPPE SAVERIO GIOVANNI BATTISTA in 1802 and they had twelve children (check the list below). He was the Duke of Calabria as the Hereditary Prince Royal of the Kingdom of the Two Sicilies. She was 13 years old while he was already a widower aged 25 and his late wife was another first cousin of both of them, Archduchess Maria Klementine of Austria, with whom he already had two children.

Her new mother-in-law Archduchess Maria Karolina of Austria opposed to the wedding because Spain was allied to the French Republic, against the Austrian/British/Naples alliance.

After her wedding she became the DUCHESS OF CALABRIA and the HEREDITARY PRINCESS ROYAL CONSORT OF THE TWO SICILIES.

France had been a treat to Naples since the French Revolution. And in 1806 Napoléon I, Emperor of the French invaded Naples, deposed her father in-law Ferdinando IV, King of Naples, forced the Neapolitan Royal Family to exile in Sicily and put his own brother Joseph Bonaparte on the Neapolitan throne as Giuseppe, King of Naples.

Less then two years later Emperor Napoléon I also deposed her brother Fernando VII, King of Spain. Joseph Bonaparte was then removed from the Neapolitan throne and became José I, King of Spain. And in Naples the Emperor placed his brother-in-law Joachim Murat as Gioachinno, King of Naples.

The Neapolitan Royals fought against France but continued to be exiled in Sicily until they were allowed to return to Naples in 1815, after Napoléon's defeat and exile.

In 1816 her father-in-law was fully restored to the throne of Naples by the Congress of Vienna and by the end of the year the Kingdoms of Naples and Sicily were unified, creating the Kingdom of the Two-Sicilies. And her father-in-law became Ferdinand I, King of the Two Sicilies.

By 1825 her father-in-law died and husband succeeded as Francesco I, King of the Two Sicilies and she became the QUEEN CONSORT OF THE TWO SICILIES.

Six years later, in 1830, her husband died and was succeeded by their son as King Ferdinando II. And aged only 36, the QUEEN MOTHER OF THE TWO SICILIES soon engaged in love affairs.

Later in life she expressed the desire to remarry and her son, the King, agreed but make a list of possible suitors. She chose a younger Neapolitan general, FRANCESCO and married him privately in 1839. He was one of the sons of Nicola of Balzo, 3rd Duke of Presenzano and Caterina Crivelli and was created Count of Balzo. So she also became the COUNTESS OF BALZO. And do do her age they did not have any children.

Nine years after her second marriage, in 1848, the Queen Mother of the Two Sicilies died aged 59, at the Palace of Portici in Naples.

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Check my post about MARÍA ISABEL's children and their Royal Weddings!

MARÍA ISABEL and her first husband FRANCESCO I had twelve children...

Princess Luisa Carlotta of the Two Sicilies - wife of Infante Francisco de Paula of Spain;

Princess Maria Cristina of the Two Sicilies - wife first of Fernando VII, King of Spain and second of Agustín Fernando Muñoz and Sánchez, 1st Duke of Riánsares;

Ferdinando II, King of the Two Sicilies - husband first of Princess Maria Cristina of Sardinia and second of Archduchess Maria Theresia of Austria;

Carlo Ferdinando, Prince of Capua - husband of Penelope Smyth;

Leopoldo, Count of Syracuse - husband of Princess Maria Vittoria of Savoy;

Princess Maria Antonia of the Two Sicilies - wife of Leopoldo II, Grand Duke of Tuscany;

Antonio, Count of Lecce - unmarried;

Princess Maria Amalia of the Two Sicilies - wife of Infante Sebastián of Spain and Portugal;

Princess Maria Carolina of the Two Sicilies - wife of Carlos Luis, Count of Montemolín;

Princess Teresa Cristina of the Two Sicilies - wife of Pedro II, Emperor of Brazil;

Luigi, Count of Aquila - husband of Princess Januária of Brazil; and

Francesco, Count of Trapani - husband of Princess Maria Isabella of Tuscany.

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Two of her granddaughters named Isabel were supposed to become Monarchs in their own rights:

in 1883 Isabel II, Princess of Asturias succeeded as Isabel II, Queen of Spain; but

in 1889 Isabel, Princess Imperial of Brazil lost her rights of succession after the Monarchy was abolished in Brazil.

[comicalflux]

when i’m on a call with my weird literature friend tm and he starts rambling about how much he wants to licc glazed ferdinand duke of calabria aka ‘im-definitely-NOT-horny-for-my-twin-sister boy’:

@webster-wannabe

[codenameantarctica]

David Dawson as ‘Ferdinand, Duke of Calabria’ in “The Duchess of Malfi” by John Webster, performed at ‘Shakespeare’s Globe’

(Part 2 of 3) (Part 1 is here)

[upennmanuscripts]

Traces of use (and a Pilgrim’s badge!) in a well-traveled Book of Hours

Fifty-two discoveries from the BiblioPhilly project, No. 12/52

   Book of Hours, Use of Rome, Philadelphia, Philadelphia Museum of Art, Department of Prints, Drawings, and Photographs, 1945‑65‑11, beginnings and miniatures for suffrages to Saint John the Evangelist and Saint Anthony Abbot, pp. 277 and 279

Last week, we looked at the fanfare-style binding of a dainty yet otherwise apparently relatively unremarkable Book of Hours produced in France in the mid-fifteenth century. Yet the book’s pages actually contains a whole variety of additional clues as to its early use. These seemingly small traces showcase several of the kinds of early ownership information we can sometimes extract when we look closely at a Books of Hours. Amazingly, all of this evidence existed within the book before it was given its current, eye-catchingly tooled binding at the end of the sixteenth century.

      1945‑65‑11, full-page miniature of Saint Adrian with interlaced initials I-Z and effaced coat-of-arms, p. 286 (with detail)

For example, a full-page miniature on the book’s final page bears a handsome-yet-damaged image of Saint Adrian of Nicomedia (recognizable by his anvil and lion), backed by a cloth-of-honor set within a Gothic architectural space and surrounded by an emblematic border, each bearing the unidentified interlaced initials “I-Z.” A coat-of-arms, unfortunately obliterated, is set below the miniature. This image was likely added to the book in the last two decades of the fifteenth century, either in Northern France or the Netherlands, judging by the general style of the miniature. The specific details of Adrian’s fur-lined cap and armor, the latter painted with powdered silver pigment that has oxidized to black, also point to a date slightly before the year 1500. Note the similarities and differences with this image of Saint Adrian by the Master of Jacques of Luxembourg, dated to between 1466 and 1470.

   1945‑65‑11, end of “Obsecro te” prayer with early ownership inscription, p. 262 (with detail)

On page 262, the book contains a crude, barely decipherable ownership inscription that seems to read: “Votre serviteur Jeanne.” A suffrage to Saint Michael is indicated by a rubric on this page, but it has been excised. Clearly, the book was subject to some modifications early in its lifetime. There are also a number of prayers added to the text by an early, yet not original hand, mostly relating to the Conception of Christ.

1945‑65‑11, inscription referring to Hippolyta Maria, duchess of Calabria, p. 34

Most interesting of all are two details, both on p. 34. In a careful but not necessarily professional hand, in Italian, we read “La nostra cara sorella che ne ama più che si stessa Hippolyta Maria duchessa de Calabria.” If this is an ownership mark, it must refer to either Ippolita Maria Sforza (1446-1484), wife of Alfonso, Duke of Calabria, or her granddaughter, Ippolita Sforza (1493-1501), who died at the tender age of eight while engaged to Ferdinand of Aragón, Duke of Calabria. Is it an autograph signature, however, or is it merely making reference to “our dear sister who loves others more than herself”? More research into the handwriting of these individuals may provide an answer.

1945‑65‑11, outline of sewing holes for a lead or tin pilgrim badge, p. 34 (detail)

But perhaps most remarkably of all, on the lower left side of the same page as the Italian inscription, a faint, bust-shaped mark is visible. This pattern is the outline of sewing holes once used to attach a lead or tin pilgrim’s badge to the page. This practice is attested in other, much more famous books, and it migrated into virtual marginal representations in certain Netherlandish Books of Hours as well.[1] Below are examples of: A), actual pilgrim badges still sewn into the flyleaves of a book; B), multiple offsets of pilgrim badges similar in appearance to ours, and: C), illusionistically painted badges in the border of a so-called Ghent-Bruges style manuscript. Perhaps a detailed look through the Kunera pilgrim badge database will yield some potential candidates for badges that might match our (former) badge in terms of shape and size. As is evident from the pattern left on the page, it consisted of a haloed head and bust, possibly representing Christ. Happy hunting, insignophiles!

A) Book of Hours, Bruges, c. 1440–1460. The Hague, Royal Library of the Netherlands, 77 L 60, fols. 97v–98r (surviving sewn-in pilgrim badges)

B) Book of Hours, Netherlands, c. 1450–1500. San Marino, Huntington Library, Garrett HM 1136, fol. 1r (offsets from sewn-in pilgrim badges)

C) Book of Hours of Engelbert of Nassau, Netherlands, c. 1470–1490. Oxford, Bodleian Library, MS Douce 219, fol. 16v (illusionistic pilgrim badges)

[1] There is an extensive literature on pilgrim badges in Books of Hours. See, with additional bibliography, Megan Foster-Campbell, “Pilgrimage through the Pages: Pilgrims’ Badges in Late Medieval Devotional Manuscripts,” in Push Me, Pull You: Imaginative and Emotional Interaction in Late Medieval and Renaissance Art, edited by Sarah Blick and Laura D. Gelfand (Leiden: Brill, 2011), 227–76; Hanneke Van Asperen, Pelgrimstekens op perkament: Originele en nageschilderde bedevaartssouvenirs in religieuze boeken (c. 1450-c. 1530) (Nijmegen: Nijmegen University Press, 2010); Isabel von Bredow-Klaus, “Heilsrahmen: spirituelle Wallfahrt und Augentrug in der flämischen Buchmalerei des Spätmittelalters und der frühen Neuzeit” (unpublished Ph.D. Thesis, Trier, 2003); Kurt Köster, “Gemalte Kollektionen von Pilgerzeichen Und Religiösen Medaillen in Flämischen Gebet- Und Stundenbüchern Des 15. Und Frühen 16. Jahrhunderts: Neue Funde in Handschriften Der Gent-Brügger Schule,” in Liber Amicorum Herman Liebaers, edited by France Vanwijngaerden (Brussels: Crédit Communal de Belgique, 1984), 485–535.

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