Praxiteles
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The pulpit in the Cathedral of St. Bavo in Ghent by Laurent Delvaux dating from 1745 “represents Truth revealing the Christian Faith to astonished Paganism (figured as an old and outworn man)” .
And as it was in 1907:
The pulpit in the Cathedral of Mechelen in Belgium designed by Michiel Vervoort and built between 1720-1730. the pulpit was originally built for the church of the Premonstratensian Canonesses at Liliendal but was transferred here following the Napoleonic wars. The scene depicts the conversion of St Norbert (in very Pauline terms).
The pulpit in the nave of the Niklauskirche in Prague by Kilian Ignaz Dientzenhofer (1689-1751)
A detail of the ceiling of the pulpit.
The pulpit in the Abbey Church of Melk in Lower Austria by Peter Widerin, son in law of Jakob Prandhauer.
A detail
And an overview of the church and abbey on the Danube:
The pulpit in the Stephansdom in Vienna dating from 1515:
Here we see two panels of the pulpit with effigies of two of the Latin doctors of the Church: St Jermome and St Augustine. the lower image shows another of the Latin doctors, Pope St. Gregory the Great and the fourth, not visible, is St Ambrose:
A detail:
The Fischerkanzel or Fisherman’s pulpit in the parish church at Traunkenkirchen am Traunsee dating from 1753 depicting the miraculous draught of fish with the Apostles Peter, James and John in the boat:
St. Colman’s Cathedral, Cobh, Co Cork, Ireland
The pulpit, dating from 1895, designed by G.C. Ashlin and executed by Bull of Dublin. Ashlin specified that the material to be used was to be Riga or Austrian oak, “which must be clean, thoroughly seasoned and free from all defects”.
The ambo in the Cathedral of Bitonto, the lastra of which has a series of figures representing the family of the Emperor Frederick II, dating from 1229:
The ambo in the Cathedral of Ravello dating from the 11th. century.
Here we see the classical ambo with two flights of steps: one facing east by which teh deeacon reading the Gospel ascends when bringing the Book of Gospels from the altar; the other facing west by which he leaves having chanted the Gospel.
The inlay figures depict (on the right hand side) the sea monster swollowing Jonnah; and on the left, the same monster spitting him out of his mouth – a classical reference to teh resurrection and often found in the catacombs. Two peacocks are also to be seen just underneath the ambo proper. These symbolize eternal life and are often found in very early Christian iconography.
The pulpit in Santa Croce in Florence by Benedetto da Maiano dating from about 1472 and depicting scenes from Franciscan life:
