EXTREMELY RARE EUCHARISTIC DOVE Limoges, 1st third of the 13th century. Chased, engraved and partially gilt copper with polychrome enamel-champlevé in the form of feathers and flowered arabesques. Ciborium in the shape of a dove on a round base. The top of the tail, the round base and the movably attached wings on the sides are made of thick copper with gemstone incrustations. The body rests on two tubular legs, which merge directly into a flat round base without feet. Hinged lid with handle (possibly replaced) on the dove's back, opening onto a hollow host container. 19.5 × 25 cm. Round base probably from the period, but assorted. Left wing with missing gemstones and chipping to the decorative band. Right wing with missing jewelled stone, one jewel heavily chipped. Wing mountings partly broken and repaired with wire. Dent to the dove's head, the enamelling of the eyes lost. Provenance: Swiss consignment. These Limoges doves, referred to as 'colombe eucharistique' in French specialised literature, were used in the Eucharistic ceremony to hold the consecrated host. As the "body of Christ", this represents the Holy of Holies in Christianity. The storage vessel was and is of corresponding importance. As part of the divine Trinity, the dove symbolises the Holy Spirit in Christian doctrine. It is regarded as a sign of gentleness and innocence. In most cases, the Eucharistic dove rested on a larger plate, which was suspended by chains in the ciborium that spanned the altar. At that time, it replaced today's tabernacle, which was only introduced at the Council of Trent in 1545-1563. A comparative categorisation of our specimen is attempted here on the basis of the specimens preserved in the world's most famous museums: Rijksmusem in Amsterdam (inv. no. BK-17205), Musée du Louvre in Paris (inv. no. OA 8104), Museum of Fine Arts Boston (inv. no. 49.1075), Metropolitan Museum New York (inv. no. 49.1075), Musée du Cluny Paris (inv. no. CL. 1957). The base or the plate on which the chains were mounted for hanging have been lost in some examples, as in the case of our dove, such as the examples in the Louvre, the Musée de Cluny and the example in Boston. In contrast, the dove in the Rijksmuseum stands on a rectangular base with a crenellated edge, while the example in the Metropolitan Museum rests on a round plinth with elongated corners to which the chains were attached. Basically, the surviving 'colombes' can be divided into two types. These differ mainly in the type of access to the vessel. Some, like the one offered here, are fitted with a hinged lid on the back of the animal (Musée de Cluny, Musée du Louvre, Rijksmuseum, Metropolitan Museum), while others have access from the side under the movable wings (Boston Museum). In those pigeons that provide access via the back, the wings are usually integrated into the vessel or firmly attached to it (Metropolitan, Rijksmuseum, Musée du Louvre). The piece offered here represents a kind of intermediate solution, combining the lid on the back with movably mounted wings. It is very close to the specimen in the Musée de Cluny (CL. 1957) in these respects as well as in its overall design. As with our dove, the dove in Cluny has no feet and the hinged wings do not provide access to the vessel, i.e. they have no function. The colours of the enamel on the Cluny version appear to be less vibrant. Overall, however, it is very similar to the one in the Cluny Museum and possibly comes from the same workshop. Cf. an illustration of the colombe in the Musée de Cluny in: Marie-Madeleine S. Gauthier. Emaux Limousins Champlevés des XIIe & XIVe Siècles. Paris 1950. pl. 52. We are grateful to Richard Camber, former Head of the Byzantine and Early Medieval Art Collection at the British Museum and later Senior Director of the Works of Art Division at Sotheby's, for his assistance in cataloguing this object.