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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

A Whale of a Pulpit

Fr. David Friel · November 30, 2020

ULPITS come in all sorts of shapes and sizes, colors and styles. From the early examples at San Clemente in Rome and Hagia Sophia in Constantinople to more recent examples in 21st-century churches, ambos have always been marked by significant variety. There are wooden pulpits and marble pulpits, Baroque pulpits and art deco pulpits, flimsy pulpits and bully pulpits. Some are set up high above the congregation, some are out in the midst of the nave, and some sit meekly beside the altar.

There are also whale pulpits.

Recently, a friend sent me a couple photos of this genre of ambo, previously unknown to me. The images were quite striking, and they led me to do a little Internet investigation. This search revealed that there are actually quite a few such appointments in Catholic churches, particularly in 18th-century churches in Poland and the Czech Republic.

Check out this photo gallery, which highlights some examples of whale pulpits.

Ss. Peter & Paul Church, Duszniki (Poland)
Ss. Peter & Paul Church, Duszniki (Poland)
Ss. Peter & Paul Church, Duszniki (Poland)
Ss. Peter & Paul Church, Duszniki (Poland)
St. James the Greater Church, Kratonohy (Czech Republic)
St. James the Greater Church, Kratonohy (Czech Republic)
St. Hedwig Church, Dobroszów (Poland)
St. Hedwig Church, Dobroszów (Poland)
St. Marin Church, Bošilec (Czech Republic)
St. Marin Church, Bošilec (Czech Republic)
Church of Our Lady, Mnichovice (Czech Republic)
Church of Our Lady, Mnichovice (Czech Republic)
Lovrečka Varoš (Croatia)
Lovrečka Varoš (Croatia)

Most of these images are drawn from the website of a Polish art historian (here). She also gives what strikes me as a sound theological reading of these unusual ambos.

In the first place, these ambos allude to the Book of Jonah in the Old Testament. While fleeing to Tarshish in order to avoid his prophetic call to announce the word of the Lord in Nineveh, Jonah ends up being thrown overboard and swallowed by a great fish. (Scripture scholars are always quick to point out that the text, strictly speaking, does not say “whale.”) After three days in the belly of the fish, Jonah is spit up onto the dry land and goes forth to announce God’s message—with astonishing success—to the Ninevites. For a preacher to stand at the mouth of the whale, therefore, is to assume a prophetic posture.

Second, it is important to remember the Christological interpretation of the story of Jonah, wherein the three days he spent in the belly of the fish represent the Lord’s three days in the tomb. Speaking from the mouth of the fish, therefore, the preacher stands also as an image of the Risen Christ.

Beyond their theological significance, these whale pulpits also have the potential to serve practical ends. Consider the problem of a preacher who goes on too long. These ambos could be outfitted with a congregant-operated mechanism that would cause the mouth to snap shut!

Not all of these whale pulpits are of equal artistic merit. Some of them, frankly, are a bit goofy. But the theological idea underlying these ambos is nevertheless very sound and quite interesting. They testify, moreover, to the beautiful diversity and creativity that are possible in Catholic architecture.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

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Filed Under: Articles Tagged With: Sacred Architecture Last Updated: November 30, 2020

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About Fr. David Friel

Ordained in 2011, Father Friel is a priest of the Archdiocese of Philadelphia and serves as Director of Liturgy at Saint Charles Borromeo Seminary. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    New Bulletin Article • “12 October 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“During Lent…the use of musical instruments is allowed only so as to support the singing. Nevertheless, Laetare Sunday (the Fourth Sunday of Lent), Solemnities and Feasts are exceptions to this rule.”

— ‘Roman Missal, 3rd Edition (2011)’

Recent Posts

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  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)

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