M. de Blainville remarks that he only knows this genus from the characteristic and short description given by Péron and Lesueur. He doubts whether this Medusa has not a mouth; for he thinks that the centre of the reunion of the four large trunks of the canals ought to be regarded as a stomach. He further inquires whether the individual figured was complete. He says that M. Lesueur informed him that there was a membrane on the lower surface, and he inquires whether this was not perhaps some remains of the stomachal cavity.

Cuvier united this genus with the Geryoniae. Eschscholtz places it, as we have seen, in his family Berenicida, and unites Euryale with it.

Charybdæa.

Generic Character. - Body hemispherical, subconical, or even semi-elliptical, furnished on its circumference with foliaceous subtentacular lobes, hollowed below by a great stomachal excavation with an aperture as large as itself. Example, Charybdeea periphylla (Pér. and Les.).

Equore i cyanea.

the animal complete; b, n portion thereof.

Tima flavilabris.

Chrysaora lutea.

Rhizostoma Cuvieri,

FOSSIL IMPRESSIONS OF MEDUSE?

Mr. Babbage, in his paper 'On Impressions in Sandstone resembling those of Horses' Feet,' December, 1836, in which he noticed those in the channel of a stream on the extensive moor called Pwll-y-Duon, about seven miles from Merthyr Tydvil, to which his attention was drawn by Mr. Guest of Dowlais, and the analogous casts in the old red-sandstone of Forfarshire, there called Kelpies' feet, described some observations recently made by Mr. Lyell, on impressions left by Medusa on the rippled sand near Dundee. On removing the gelatinous body of the animal, a circular space was exposed, not rippled, but having around half the border a depression of a horse-shoe form. These marks however were not considered by Mr. Lyell as identical with those called Kelpies' feet, but merely so far analogous as to invite further observations, and to make it desirable to possess drawings of the impressions which different species of Meduse leave when thrown by the tide upon a beach of soft mud or sand. (Geol. Proc., vol. ii.)

PULMONELLA. [SYNOICUM.]
PULMONELLUM. [ZOOPHYTARIA.]

PULP is a name given in vegetable physiology and botany to such parts of plants as are semifluid. This substance appears to the naked eye as a mucilaginous unorganised mass of the nature of a secretion; but it is in reality composed of very thin-sided cells which have little power of cohesion, and secrete in their interior a greater abundance of fluid than is usual. Pulp may therefore be regarded as young and imperfectly formed tissue filled with the secre

Rhizostoma.

Generic Character-Body circular, hemispherical, provided on its circumference with lobes or festoons intermingled with auricles, largely excavated below, with four semilunar orifices, produced by four roots of insertion of a considerable pedunculated mass, afterwards divided into eight very complex brachideous appendages furnished with fibrillary suckers, without a median prolongation. Four ovaries, in the shape of a cross. Stomachal cavity very large and vascular at its circumference.

Example, Rhizosioma Cuvieri.
Habitat.-European Seas.

M. de Blainville separates the genus into two divisions.

A

haps in all cases, mixed with an abundance of cinenchyma. or laticiferous tissue, which passes through it in all directions in the form of the most delicate ramifications. The paip of the grape affords a good example of this. To the naked eye it appears to be nothing more than a fleshy homogeneous mass that may be compared to half-consolidated gum; but under the microscope it is found to be a congeries of oval transparent bags turgid with fluid and very easily ruptured; treated with iodine, they lose their transparency in some measure, and acquire a brown colour, when their limits become very distinct. The same re-agent stains still browner the vessels of the latex, whose course and position are thus brought clearly into view. In a few minutes however the colouring fades away in the latter, till they become as indistinct as they were before the iodine was applied: it is therefore necessary that the observation should be made as soon as the iodine has seized upon the latex or its

PULPIT. This term affords a striking instance of the great change of meaning and application which words frequently undergo, for, exclusively of the Latin termination, it is identical with Pulpitum, which signified that part of the Roman stage (distinguished from the orchestra) on which the actors recited and performed their parts. The French Pupitre and the English Pulpit both come from the same

source, but are dissimilar in signification; the former meaning merely a reading-desk, and Chaire (Cathedra) being the term that corresponds with our English one. The Ambo of the early Christians appears to have been different both in form and purpose from pulpits afterwards used for preaching, it being rather a low platform on which parts of the service were sung or recited. The most antient pulpits now existing are supposed to be those in S. Lorenzo fuor delle Mura and S. Clemente at Rome; and these and other early pulpits of the same kind are of marble, with inlaid or mosaic compartments. In the church of S. Lorenzo at Florence, and several other modern basilicas, there are two pulpits, one on each side of the nave. Great cost both of material and workmanship was frequently bestowed on pulpits; and some of them rank among the most celebrated monuments of art of their period. Niccola and Giovanni Pisano [PISANO], Donatello, Benedetto da Majano, and other eminent sculptors, employed their talents upon such works. The pulpit in the baptistery of Pisa, by Niccola, is hexagonal, and supported on seven columns, one at each angle and a central one. Giovanni Pisano executed that in the nave of the Duomo at Pisa, besides which there are two others in the same church, on the opposite sides of the choir. The Pergamo of Santa Croce at Florence, by B. da Majano, is greatly extolled by Vasari for the beauty of its reliefs and sculptures. The two pergami in S. Lorenzo at Florence, similarly placed opposite each other, are the work of Donatello; and of the mastery of composition displayed in their reliefs some idea may be formed from the specimen given of them in Cicognara's Storia della Scultura. Notwithstanding the richness of such pulpits, and their elaborate execution, their general forms are not always the most pleasing or appropriate.

For a long time the pulpit appears to have been treated as an architectural feature of the interior, being constructed, if not of marble, of the same material as the rest. Among numerous other examples of Gothic stone-pulpits may be mentioned that in the nave of Strasburg cathedral, which is spoken of by Dr. Dibdin in terms of unqualified admiration, yet it is too much of a jumbled mass of ornament, and the whole of the canopy is in exceedingly bad taste, though not quite so vicious as that afterwards displayed in many Roman Catholic pulpits whose canopies are made in the form of clouds, curtains, palm-branches, and similar extravagancies. One of the most celebrated as a performance of art is the magnificent oak pulpit in the nave of St. Gudule, at Brussels; the whole is elaborately carved, and the pulpit itself is supported by figures representing Adam and Eve expelled from Paradise by the Angel.

Of stone-pulpits we have few remaining in this country; but there is one in Bristol cathedral, and another in Worcester, drawings and details of which latter are given in Pugin's 'Gothic Specimens.' It was originally erected in the nave, near the west end, but has been removed to the north side of the choir, and has been greatly disfigured by modern beautifying, a flat sounding-board having been added to it in the shape of a bed-tester with paltry little scalloped festoons.' Even the pulpit itself is not remarkable for the elegance of its details, although its general form is good. This and another subject represented in the same work are instances of what may be termed oriel pulpits, being made to project after the fashion of an oriel [ORIEL] from a pier or wall, and similarly corbelled below, instead of being supported from the ground. The second of the above-mentioned examples is in fact a small oriel in an angle of the outer court of Magdalen College, Oxford; and another, still more antient and curious-and we may add, more beautiful-is that at Beaulieu, Hants, which projects from an elegant open Gothic arch, and is supported, not on a corbelled and moulded oriel-stool, but on a short reversed spire, whose angles are decorated with small pillar-shafts, and the sides between them with foliage: a representation is given in the plates to the Glossary of Architecture.' Besides pulpits of this kind in the courts and cloisters of religious houses, there were others called PreachingCrosses, from which sermons were delivered in the open air: Paul's Cross is a celebrated and well-known instance. At the present day very few of the pulpits in our English churches have any beauty of form or character, but are frequently tasteless excrescences, encumbered with steps, reader's-desk, &c., and with respect to design, they are mere carpenter and joiner's work. Of late years the practice has been introduced of having two distinct

pulpits, one for the reader, the other for the preacher; placed on opposite sides of the chancel; whereby architectural symmetry at least is kept up; yet this has been objected to as a reprehensible departure from strict usage, and likewise an absurdity, though if there be absurdity in having two pulpits when only one is required at a time, the absurdity is the same whether they be united together, one above the other, or placed singly. The two might very properly be combined, were the pulpit to be made a central object in a church, by being so placed at the altar-end of the chancel; but though it has occasionally been adopted, such mode is still more strongly objected to as being offensively indecorous, because in such case the pulpit must be before the altar. It might however be at such distance from it as not to obtrude upon it; and as to indecorum, when no irreverence is intended, but merely convenience is consulted, the impropriety becomes excusable, such situation being certainly the most advantageous of any, because the preacher is then both heard and seen more distinctly by the whole congregation than when he is stationed on one side of the church. PULSE. [HEART.]

PULTAWA. [POLTAWA.]

PULTENEY, WILLIAM, Earl of Bath, was born in 1682. He was the eldest son of a father of the same names, whose father, Sir William, had represented the city of Westminster in parliament with some distinction. The surname is supposed to have been taken from Pulteney in Leicestershire, where the family had been antiently established.

Young Pulteney, having been sent first to Westminster school and then to Christ Church, Oxford, afterwards travelled on the Continent, and on his return home was brought into parliament for the borough of Hedon in Yorkshire. This appears to have been in 1705. He was indebted for his seat to his guardian, Henry Guy, Esq., formerly secretary to the treasury, who afterwards left him a legacy of 40,000l. and landed property to the value of 500l. a year. Pulteney besides derived a considerable estate from his father, and he also received a large portion with his wife, Anna Maria, daughter of John Gumley, Esq., of Isleworth. All this wealth he increased by the practice throughout his life of a very rigid economy, which,' says Coxe, in his Memoirs of Walpole,' 'his enemies called avarice, but which did not prevent him from performing many acts of charity and beneficence.'

From his entry into the House of Commons, Pulteney attached himself to the Whig party, which was that of his family. He continued to sit for Hedon throughout the reign of Anne; but his name does not appear in the reported parliamentary debates during that reign. Coxe however states that he spoke for the first time on the Place Bill,' which he warmly supported. Place Bills, or proposals for excluding placemen from parliament, were brought forward in the House of Commons almost every session in this reign. Coxe also tells us that he distinguished himself on the question of the prosecution of Sacheverell; that he had made himself so obnoxious to the Tories, that when they came into power, in 1710, they revenged themselves upon the young orator by removing his uncle, John Pulteney, Esq., from the board of trade; that during the last four years of Queen Anne he not only took a principal share in the debates, but was admitted to the most important secrets of his party; and that on the prosecution of Walpole, in 1712, Pulteney defended his friend in a very elegant speech. He certainly was looked upon by this time as one of the leading men of his party.

On the accession of George I. Pulteney was appointed secretary-at-war; but when Walpole resigned in 1717, Pulteney also gave up his office. Soon after this however a coolness took place between the two friends, which was not removed by the appointment of Pulteney to the valuable sinecure of cofferer of the household on Walpole's resumption of office in 1720; but it was not till 1725 that Pulteney openly threw himself into the ranks of opposition, and began that course of bitter and incessant attack upon the minister, which did not cease till he had driven Walpole from power in 1742. Nor did he confine his exertions to his place in parliament; out of doors he entered into a close union with the party of which Bolingbroke was the head, and became the principal assistant of that writer in his paper called the 'Craftsman.' By his shining powers as a debater also, and the flaming patriotism with which he filled his harangues