RELIGIOUS ENCYCLOPEDIA
Pulleyn Purcell
the liturgical lections. The fuller and freer development of the pulpit in all countries to which it gained entrance was not eventually assured before the late Gothic period in the fifteenth century; while the Reformation movement brought this development into still wider and swifter activity not only in Protestant but also in Roman Catholic jurisdictions.
The pulpit now becomes a conspicuous, indispensable fixture of the interior equipment of churches; and in keeping with its importance it is appropriated by art as an object highly fruitful for its purposes. Its connection with choir and ambo ceases entirely, and the portable wooden pul-
Medieval pit disappears. From late Gothic times Pulpit- onward, the pulpit is a fixed essential Decorations, to the central nave, and is almost as indispensable as the baptismal font. Its materials in the Middle Ages were stone and wood; the Renaissance preferred wood. Rarely the pulpit adjoins the wall in a freely suspended manner; but usually it rests on a structural base, on a pillar or column. Again, statues appear as bearers — Moses, kings of Israel, Peter, Paul, angels, even Christ himself. At the bottom lie monsters as images of the demonic powers overcome by the Church and now its servants. Not only here but elsewhere in pulpit art, solemn warnings are occasionally introduced for preachers and hearers alike. And still more richly does art unfold itself in the case of the commonly octagonal, more rarely hexagonal or circular, breastwork surrounding the platform. From single ornament to detail figures and entire scenes, decorative art has here been active. Christ and his apostles, the four Church Fathers (in medieval times the favorite theme), saints, especially the patrons of the founder or of the Church — the symbols of the four Evangelists (frequent in the Reformation era and predominantly so on Protestant soil), personified virtues, the well-known typical figures of medieval imagery, Old- and New- Testament scenes, etc., complete this copious cycle. Equally appropriated to the operations of art is the stairway arrangement; an elegantly perforated balustrade, often with statues, embellishes the way. With conscious design to this end, images of Moses and the prophets were employed. A similar decoration was finally bestowed upon the indispensable and often tremendous sounding-board, which in the Gothic era sometimes rears itself like an open tower or towering cupola.
In the Renaissance age these forms become simplified; indeed, a certain sobriety and monotony come to prevail. Toward the end of the eighteenth century and in the early years of the nineteenth — sporadically still earlier — the pulpit was relegated to the altar's enclosure, and became
Later De- associated with the altar in such sort velopment. that it was either constructed over the altar wall, or else it was erected behind the altar, which in this case was not permitted to have a headpiece. Not only the Evangelical but also the Roman Catholic Church — though the latter in less degree — is implicated in this confusion. The reawakening of a proper understanding for the nature of congregational worship and the right functions of the objects thereto instrumental within the
interior of the church, led to spirited opposition against this juxtaposition of altar and pulpit. The custom of covering the front of the ambo with a cloth passed over to the pulpit, and has been maintained to this day. The pulpits or quasi-pulpits which occur as detached externals of churches, served either for the display of relics or for the delivery of addresses on special occasions. Sometimes they stand quite apart from any connection with the church edifice in the square of the church or in the cemetery.
The Greek Church has generally adhered to the
simple ambo along the dividing line of the choir.
Only in the .larger churches, where
In the stress is laid on the sermon, has there
Greek been progress in the development of
Church, pulpits; though even here their form
still variously reflects the general style
of the ambo. Victor Schultzb.
Bibliography: Bingham, Origines, III., v. 4, VIII., v. 4; H. Otte, Handbuch der kirchlichen Kunstarchaologie, s.v. " Kauzel," 2 vols., Leipsic, 1883-84; J. A. Martigny, Dictionnaire des antiquites chretiennes, s.v. " Ambo," Paris, 1865; F. X. Kraus, Real-Encyklopadie der christlichen Alterthiimer, s.v. " Ambon," 2 vols., Freiburg, 1880-86; W. Durandus, Symbolism of Churches and Church Ornaments, p. 23, London, 1906; KL, i. 685-687; and the very illuminating article on the Ambo in F. Cabrol, Dictionnaire d' archeologie chretienne, fasc. v., cols. 1330-47, Paris, 1904 (where a vast reference list is given).
PUNISHMENT, FUTURE. See Future Punishment.
PUNISHMENTS, HEBREW. See Law, Hebrew, Civil and Criminal.
PUNSHON, WILLIAM MORLEY: Wesleyan; b. at Doncaster (30 m. s. of York) May 29, 1824; d. at London Apr. 14, 1881. He entered the Methodist society in 1838; became a local preacher in 1842; studied at the Wesleyan College at Richmond in 1845; occupied various fields until he was ordained in 1849; served at Newcastle-on- Tyne, Sheffield, and Leeds 1849-1858; in London, 1858-64; and Bristol, 1864-67; presided over the annual conferences and had great influence upon Methodism in the Dominion of Canada, 1867-73; and returning to London, he was superintendent of Kensington district, 1873-75, and one of the general secretaries of the Wesleyan Methodist Missionary Society, 1875-81. He was distinguished for his eloquence, enthusiasm, wisdom, administrative ability, and success in raising money for benevolent purposes. He published Select Lectures and Sermons (London, 1860); Life Thoughts, sermons (1863); Sabbath Chimes, verses (1867); The Prodigal Son (1868); and Sermons, Lectures, anal Literary Remains (1881).
Bibliography: F. W. Macdonald, The Life of William Morley Punshon, London, 1887; The Rev. W. M. Punshon, a Sketch of his Life, with Sermons, ib. 1871; T. MacCullagh, The Rev. W. M. Punshon, a memorial
Sermon, ib. 1881; W. M. Punshon, Preacher and Orator, with a Selection of his Lectures and Sermons, ib. 1881; J. Dawson, William Morley Punshon, the Orator of Methodism, ib. 1906; DNB, xlvii. 37-38.
PURCELL, HENRY: Composer; b. at Westminster, London, in 1658; d. at the same place Nov. 21, 1695. He was copyist at the Westminster Abbey, 1676-78; and was appointed organist at
Purcell Puritans