In the Middle Ages  the eucharistic vessel is first suspended above the altar. A practise to which is added in the XIII century that of the ciborium being deposited in a wall or other designed tabernacle. The hanging container thus protected against mice,  is a closed vase, a small niche or a dove, image of The Holy Spirit.

Like a number of other liturgical vessels, eucharistic doves were produced in large quantities in Limousin workshops and sold throughout Europe in XIII century. They are very similar in their structure and decoration although each one of them has its uniqueness. Doves often perched on a small disc harbouring their hidden feet; the circular base can also take the form of a “gemellion” (dove of Amiens) or that of a crenallated enclosure, symbol of New Jerusalem (specimen of Washington). Doves hang from small chains attached to their base. Did the Museum model have appendages arched in the shape of an antenna, as is the case for the New York model, or was it attached to a larger base with holes? The small chains could be attached to a suspended crown which was pierced with holes used to sew a cloth canopy, small tent resembling the biblical Tabernacle, used to veil the bird. The crown preserved in the Museum is decorated with angels busts and with eight small enamelled towers decorated with crosses.

The dove itself constitutes of many fitted copper plates. Here, the wings,  which are customarily attached to the body with rivets, move through an hinge situated at the end of the wing. On the back, an oval shaped cap closes the Eucharistic receptacle. This dorsal lid can be decorated with special patterns, on its external (HIS on the New York dove) or internal (blessing hand of God for the Washington and Copenhagen models). The belly, the head and the back are engraved in a pattern suggesting feathers. The wings, the tail and the base are enamelled in Champlevé with patterns of feathers and scrolls (for the base), plain or in several shades of colours. Each wing is crossed by a vertical banner decorated with gems whose mounts only are left.

Limousin doves, which mix realism (through the feathers) and stylisation, are difficult to date. The Museum dove appears to be one of the oldest preserved specimens, dating back to the years 1200, as is the one from Amiens which features two decorative banners with vermiculated patterns on the wings, and the “second generation” dating back to 1215-1235, characterized by the image of one single decorative banner on the wings and also by the absence of gems. Although they are less frequent, Eucharistic doves will endure till after the XIII Century and even after the Middle Ages.

(Source - Christine Descatoire (Curator - Museum of the Middle Ages)