The basic form here is comparable to other historical ambones, but what I was intrigued by in particular in this instance was the imagery, and so I looked up further images of it: ❋ Unknown (2009)
The inconvenience of having one ambo soon became manifest, and in consequence in many churches two ambones were erected. ❋ Unknown (2009)
Next to these the largest masses are a circular tablet, forming part of the splendid sheathing of one of the ambones in the Church of San Lorenzo; and two elliptical tablets, still larger, engrafted upon the pilasters in front of the high altar of St. Paul's. ❋ Hugh Macmillan (N/A)
In the ancient churches there were generally in the _chorus_ or choir two ambones, one from which at solemn masses the lector and at a later period the subdeacon used to sing the gospel, with his face usually turned towards that side of the church, where the _men_ were assembled; at Rome this was generally the south side. ❋ Charles Michael Baggs (N/A)
[Sidenote: Review of the ceremonies of the mass.] [Sidenote: Mass of the catechumens, ambones, sermons.] ❋ Charles Michael Baggs (N/A)
The church has an enclosed choir, with two ambones or reading-desks in it, surrounding the altar, as was the custom in the older Christian churches. ❋ Hugh Macmillan (N/A)
The choir screens, work of the Renaissance, are very lovely, while above them are the _ambones_, from which on a Festa the Epistle and Gospel are sung. ❋ Edward Hutton (1922)
Round three sides of this choir the faithful were allowed to congregate to hear the Gospels or Epistles read from the two pulpits or ambones, where were built into its enclosure, one on either side; or to hear the services which were read or sung by the inferior order of clergy who occupied its precincts. ❋ 1840-1916 (1913)
But the "Cærimoniale Episcoporum" still allows the use of "legilia vel ambones" if there be any in the church. ❋ 1840-1916 (1913)
More often, as we might expect, we find it on the façades of the Byzantine basilicas and in their adornments, such as altars, iconastases, sacred curtains for the enclosure, thrones, ambones and sacerdotal vestments. ❋ 1840-1916 (1913)
Low mass was going on at a side altar, and the canon's mass in the beautiful marble choir, behind the ambones, behind those delicate marble railings and seats, which, with their inclusion, makes the fine aristocratic, swept and garnished quality of that ❋ Vernon Lee (1895)
The church, just restored, very swept and garnished still, with its Byzantine delicacy of fluted ribbed columns, carved precious ambones and carpet of lovely marbles, ❋ Vernon Lee (1895)
The fine _ambones_; the very peculiar and beautiful galleries, with delicate columns, like a triforium on either side of choir for women; the choir with splendid episcopal seat and pale cipolin benches -- Tadema like -- for priests all round. ❋ Vernon Lee (1895)
On either side were the pulpits or _ambones_ for the Gospel and Epistle. ❋ Unknown (1890)
+San Clemente+ (1084) has retained almost intact its early aspect, its choir-enclosure, baldaquin, and ambones having been well preserved or carefully restored. ❋ Unknown (1890)
The imagination has to supply the atrium or outer portico from one building, the vaulted baptistery with its marble font from another, the pulpits and ambones from a third the tribune from a fourth, the round brick bell-tower from a fifth, and then to cover all the concave roofs and chapel walls with grave and glittering mosaics. ❋ John Addington Symonds (1866)
The pulpit of Niccola da Foggia does not materially differ from other ambones in Italy -- from several, for instance, in Amalfi and Ravello; while the distinctive features of Niccola Pisano's work -- the combination of classically studied bas-reliefs with Gothic principles of construction, the feeling for artistic unity in the composition of groups, the mastery over plastic form, and the detached allegorical figures -- are noticeable only by their total absence from it. ❋ John Addington Symonds (1866)
A modern monument in the Martelli Chapel, where the beautiful Annunciation by Lippo Lippi hangs under a crucifix by Cellini, in the left transept, commemorates him; but he needs no such reminder here, for about us is his beautiful and unforgetable work: not perhaps the two ambones, which he only began on his return from Padua when he was sixty-seven years old, and which were finished by his pupils Bertoldo and Bellano, but the work in the old sacristy built in 1421 by Brunellesco. ❋ Edward Hutton (1922)
[Footnote 238: Properly speaking, they are ambones. ❋ David Lindsay Crawford (1905)
it was takin by force from [Indonesia] the [corrupted] [muslim country]. ❋ Gloria (2004)
