Rich with gilding, its overall surface engraved and enameled in a pattern that suggests layers of feathers, this dove would have hung over an altar as an evocation of the Holy Spirit. A tear-shaped door on its back conceals a small cavity once used to hold the bread of the Eucharist. Though many textual sources mention gold and silver doves, suggesting these materials were part of the standard liturgical furnishings for churches and communities that could afford them, few examples survive. On the other hand, doves of Limoges work fashioned from copper and enameled in brilliant colors exist in large numbers.
Inscription: Inscription: IH[ESU]S.
Aimé Desmottes, Paris (until 1900); his sale, Hôtel Drouot, Paris (March 19-23, 1900, no. 5); Georges Hoentschel (French, Paris 1855–1915 Paris)(by 1911); [ Jacques Seligmann, Paris and New York (January 1912)]; J. Pierpont Morgan, London and New York; Estate of J. Pierpont Morgan(1913–1917)
Catalogue des objets d'art et de haute curiosité [...] collection de Feu M. Desmottes. Paris: Hôtel Drouot, March 19-23, 1900. no. 5, p. 8, (ill. pl. opp. p. 8).
Pératé, André. Collections Georges Hoentschel: Émaux du XIIe au XVe siècle. Paris: Librairie Centrale des Beaux-Arts, 1911. no. 67, fig. XLI.
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 1st ed. New York: The Metropolitan Museum of Art, 1925. p. 105.
Breck, Joseph, and Meyric R. Rogers. The Pierpont Morgan Wing: A Handbook. 2nd ed. New York: The Metropolitan Museum of Art, 1929. p. 105.
Forsyth, William H. "Mediaeval Enamels in a New Installation." The Metropolitan Museum of Art Bulletin, n.s., 4, no. 9 (May 1946). ill. p. 237.
Frazer, Margaret English. "Medieval Church Treasuries." The Metropolitan Museum of Art Bulletin, n.s., 43, no. 3 (Winter 1985-1986). p. 12, fig. 5.
Gauthier, Marie-Madeleine. Émaux Méridionaux: Catalogue International de l'Oeuvre de Limoges; L'apogée 1190-1215. Corpus des émaux méridionaux, Vol. II. Paris: Éditions du centre national de la recherche scientifique, 1987 . no. III C no. 12, pp. 164-165.
Taburet-Delahaye, Elisabeth, and Barbara Drake Boehm, ed. L'Oeuvre de Limoges: Emaux limousins du Moyen Age. Paris: Réunion des Musées Nationaux, 1995. no. 106, pp. 318-319.
Boehm, Barbara Drake, and Elisabeth Taburet-Delahaye, ed. Enamels of Limoges, 1100-1350. New York: The Metropolitan Museum of Art, 1996. no. 105, pp. 318–19.
McLachlan Elizabeth Parker. "Liturgical Vessels and Implements." In The Liturgy of the Medieval Church, edited by Thomas J. Heffernan, and E. Ann Matter. Consortium for the Teaching of the Middle Ages. Kalamazoo, Michigan: Western Michigan University, 2005. pp. 398-399, fig. 6.
Barnet, Peter, and Atsuyuki Nakahara, ed. Earth, Sea, Sky: Nature in Western Art – Masterpieces from the Metropolitan Museum of Art. Tokyo: Yomiuri Shimbun, 2012. no. 57, pp. 109, 230.
Date: ca. 1220–1230Medium: Copper (plaques): engraved, scraped, stippled, and gilt; (appliqués): repoussé, chased, engraved, scraped, and gilt; champlevé enamel: medium blue, turquoise, medium green, yellow, red, and white, modern wood mountAccession: 17.190.735On view in:Not on view
Date: ca. 1180–90Medium: Copper: engraved, chiseled, stippled, and gilt; champlevé enamel: dark, medium, and light blue; turquoise, dark and light green, yellow, red, and white; wood core, painted red on exteriorAccession: 17.190.514On view in:Not on view
Date: ca. 1185–1200Medium: Copper (plaque): chased, engraved, stippled, and gilt; (appliqué): repoussé, engraved, chased, scraped, stippled and gilt; champlevé enamel: medium and light blue, turquoise, green, yellow, red, and white; dark blue and turquoise glass beadsAccession: 17.190.779On view in:Gallery 304