I commence with Italy, first, because it has been the fountain from
whence Catholic truth has flowed to other parts of Christendom, and
secondly, as I believe it is a very general delusion that screens formed
no part of the fittings of a Roman church.
As an overwhelming contradiction to this often-repeated error, I produce
a representation of the great screen in old St. Peter's, from the most
irrefragable authority,[7] from which it will be seen that a _double_
marble wall was erected, about six feet high, and twelve feet apart,
that on these walls stood twelve porphyry pillars, supporting a
transverse cornice surmounted with standards for lights. Moreover, at
the neck of these pillars, under the cap, rods were extended for the
suspension of lamps, which were kept perpetually burning in honour of
the Apostles, whose relics lay beneath the high altar.
This altar, as will be seen by the plan, stood considerably within the
screen, surrounded by pillars, and covered by a ciborium. The back of
the altar is turned towards the nave, with a cross and candlesticks upon
it, and must have effectually concealed the celebrant from the people;
behind all this is seen the great apse, with the cathedra for the pope,
mosaic ceiling, and usual decorations.
This is the most important authority for the use of screens in the
ancient Roman church; and the dignity and sanctity of the old basilica
of St. Peter was so great, that it would be naturally considered as the
type for other churches; moreover, if we except the details which belong
to the early period of its erection, it is a perfect type of a Pointed
screen,—convert the twelve pillars into shafts, surmount them with
arches, and terminate them by a bratishing, and we have a work of the
mediæval period. It is also exceedingly interesting to observe that this
screen is surmounted by standards for wax tapers, and many lamps were
suspended from it. The most modern screens of the seventeenth and
eighteenth century still preserve these features, and the traditional
arrangement has lasted from the reign of the emperor Constantine down to
our time. It will be seen by the plate which represents the screen, that
the altar is covered with an elevated ciborium, raised on four pillars,
connected by rods, from which veils of silk and precious stuffs were
suspended. It may be useful to remark, that, although as I have before
said, the altar itself was never shut off purposely from the sight of
the people, yet it is most certain that all altars were provided with
these veils or curtains, which were closely drawn during the
consecration. There is especial mention of the gifts of such curtains by
the early popes to the altars of churches in Rome;[8] and though this
rite has been long disused, yet the lateral curtains, suspended on rods,
which still hang in many continental churches, are remains of the
ancient reverential practice. It is greatly to be desired that these
ciborium altars were more generally revived in our times, especially for
the reservation of the holy sacrament. Their vaulted coverings are not
only most majestic in appearance, but they are practically useful in
preventing the deposition of dust on the altar and tabernacle. In all
cases, side curtains should be retained for altars in lateral chapels,
as they preserve the celebrant from distraction, and protect the tapers,
&c., from currents of air. But to answer these ends, it is essential
that the curtains should be suspended nearly at right angles to the
reredos, and not expanded flat against the walls, as may be seen in some
churches of our own time.