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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

    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
    —Jeff Ostrowski
    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —Jeff Ostrowski
    “Music List” • 14 September (Holy Cross)
    Readers have expressed interest in perusing the ORDER OF MUSIC I prepared for 14 September 2025, which is the Feast of Exaltation of the Holy Cross. If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed

Random Quote

“In 1848, Franz Liszt attended a performance of Schumann’s 1st Piano Trio, held in his honor in the Schumanns’ home. Liszt arrived two hours late with Wagner (who hadn’t been invited), derided the piece, and spoke ill of the recently deceased Mendelssohn. This upset the Schumanns, and Robert physically assaulted Liszt.”

— Janita Hall-Swadley

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