Posted: May 15 2005 at 9:15pm | IP Logged

In medieval times the figure of a dove was widely used to enact in a dramatic way the descent of the Holy Spirit on Pentecost Sunday. When the priest had arrived at the sequence, he sang the first words in a loud and solemn voice: Veni Sancte Spiritus (Come, Holy Ghost). Immediately there arose in the church a sound "as of a violent wind blowing" (Acts 2, 2). This noise was produced in some countries, like France, by the blowing of trumpets; in others by the choir boys, who hissed, hummed, pressed windbags, and rattled the benches. All eyes turned toward the ceiling of the church where from an opening called the "Holy Ghost Hole" there appeared a disc the size of a cart wheel, which slowly descended in horizontal position, swinging in ever-widening circles. Upon a blue background, broken by bundles of golden rays, it bore on its underside the figure of a white dove.

Meanwhile the choir sang the sequence. At its conclusion the dove came to rest, hanging suspended in the middle of the church. There followed a "rain" of flowers indicating the gifts of the Holy Spirit, and of water symbolizing baptism. In some towns of central Europe people even went so far as to drop pieces of burning wick or straw from the Holy Ghost Hole, to represent the flaming tongues of Pentecost. This practice, however, was eventually stopped because it tended to put the people on fire externally, instead of internally as the Holy Spirit had done at Jerusalem. In the thirteenth century in many cathedrals of France real white pigeons were released during the singing of the sequence and new around in the church while roses were dropped from the Holy Ghost Hole. (My emphasis added)