f,,r the resolute and the heroic. lie had a naturally kind and amiable spirit. He was far from being im- petuous in hi- movements or hasty in his decisions; . . . hni when his purpose was once deliberately and con- scientiously formed, it was impossible to divert him from of his sober convictions. With the highest i hysical courage, he united that higher cour- age which has its foundation in principle and in faith. imenl of fear, except .a- it had respecl to God, never found a lodgmenl in his bosom." His preaching wa- such a- might have been expected from hi- -olid and w, ll-disciplined mind, and his earne-t. rc-olule. and eminently Christian spirit, lie spoke with greal sim- plicity and directness, hut without any of the -race- of oratory. His discourses were well-eon-idcred. well-di-
gested expositions of divine truth. See Spra nalsoftlu A mer. Pulpit^ vii, 786 sq. ; Finlev, & . 1845. id. 11. \\ .i Foeleniberg, Korneltus, a Dutch painter, was horn at Utrechi in 1586. Hi- master wa- Abraham Ih' then w, nt to Rome, where he en-
POELENBURG 3
joyed the lessons of Adam Elzheimer (1600). A mem- ber of the academic rank, he was there called // Brusco and II Satiro. He Italianized his manner. His paint- ings were esteemed, and brought a good price even in Italy. Pope Paul V and the grand-duke of Tuscan}-, Ferdinand II, endeavored in vain to keep him. After a few months spent in Florence (1021), he went back to Holland, where his fame had preceded him. He was received with great honors; Rubens became his friend. Charles I called him to London, where Poe- lemberg painted a great deal; but he finally abandoned the service of the English monarch and returned to Utrecht, where he died, in 1660. His chief sacred works are: The Birth of Jesus, at Diisseldorf; Lot and his Daughters; the Martyrdom of St. Stephen ; a Flight to Egypt; a Holy Family; an Angel announcing to the Shepherds the Birth of the Saviour, in the Louvre, and one of his best; etc. At the great exhibition at Man- chester (1851) the portrait of Poelemberg and his wife, painted by himself, and several landscapes, were great- ly admired. He left also some good eau-fortes, but his engravings are rare and out of the market. Poe- lemberg's manner is remarkable for suavity and light- ness; it betokens great facility and an uncommon science of the chiaro-oscuro ; his masses are large, his backgrounds and first plans full of harmony; the de- tails, especially those related to architecture, are care- fully worked out ; his figures (generally naked females) are well grouped, but the drawing is seldom correct. See Descamps, Vie des Peintres, i. 214 sq.; Blanc, La Vie des Peintres (Ecole Hollandaise), liv. 9-1; Spooner, Biog. Hist, if the Fine Arts, s. v. ; Mrs. Clement, Hand- book of Painters, etc. p. 461.
Poelenburg, Arnold, a Dutch theologian, was born Sept. 12, 1628, at Horn, in the Netherlands, where he also became pastor in 1653, after having completed his studies. He removed to Rotterdam, and in 1659 became professor of theology of the Remonstrants (q. v.), and died Oct. 30, 1666. He wrote, Confutalio dis- putationis Fr. Spanhemii de quinque ar/iculis contro- versis, cum refutations, argumenti Guil. Tuissi, cui sol- rendo ne diabolum quidiin it angelos ejus esse pans g/n- riatu,-: — Dissert, epistol. qua demonstratur non possi remonstrantes Integra eonseieniia cum Contraremonst ran- tibus vel i-iuiijri ijaihtiiis nl S. Synaxeos communionem colere: — Epistola ad Christ. Hartzaeherum in qua liber octavus summee controversiarum Job. Hornbi </.//'. qui est adversus remonstrantes refellitur, etc. See C-atten- burgh, in Biblioth. Remonstrant in m ; Jocher, Gelehrten- Lexikon, s. v. (B. P.)
Pcenitentiale Romanum, a collection of rules used in the Roman Catholic Church, prescribing the time and manner of penance, the forms of prayer to be employed for the reception of those who enter upon penance, and for reconciling penitents by solemn abso- lution. Its history can be traced to the ninth ceutury. See Penitential.
Poet (Troirjrfie, a doer, as often translated) occurs but once in this sense in the Bible. Paul quotes the poet Aratus, a native, as well as himself, of Cilicia (Acts xvii, 28) : " We are the children (the race) of God." This is part of a longer passage, whose import is, "We must begin from Jupiter, whom we must by no means forget. Everything is replete with Jupiter. He fills the streets, the public places, and assemblies of men. The whole sea and its harbors are full of this god, and all of us in all places have need of Jupiter.'' It was certainly not to prove the being or to enhance the merit of Jupiter that Paul quotes this passage. But he has delivered out of bondage, as we may say. a truth which this poet had uttered, without penetrating its true meaning. The apostle used it to prove the exist- ence of the true God, to a people not convinced of tin' divine authority of the Scriptures, and who woidd have rejected such proofs as he might have derived from thence. SceARATUs.
3 POETRY
The same apostle gives a pagan poet the name of prophet (Tit. i, 12, " One of themselves, even a prophet of their own, said," etc.), because, among the heathen, poets were thought to be inspired by Apollo. They spoke by enthusiasm. Oracles were originally delivered in verse. Poets were interpreters of the will of the gods. The poet quoted by Paul is Epimenides, whom the an- cients esteemed to be inspired and favored by the gods. See Epimeniiu.s.