The marble enclosure of the choir is four feet six inches high; the
floor of this choir is two steps above the nave. Between this choir and
the sanctuary is a cross wall of marble, six feet high, with an opening
in the centre, through which only the back of the altar can be
discerned, as the basilica is turned to the west. It will be readily
perceived by these arrangements, that although no ornamental screen-work
existed, yet, practically, the sanctuary is far more shut out than in
Pointed parochial churches, where the solid panelling rarely exceeds
three feet six inches; and it must be admitted, that, if the first few
feet were built up solid, as at San Clemente, it is a matter of little
consequence, as regards facilities of seeing, whether this base is
surmounted by open work, or terminated by a cornice.
The original fittings and choral arrangements of the greater part of the
ancient churches at Rome have been entirely modernized, with a view to
their embellishment, during the revived Pagan period. Indeed, this city
has been singularly unfortunate. During the prevalence of Christian art,
it was almost deserted, and even the Popes resided at Avignon, in a
pointed palace of stupendous dimensions and design. But on their return,
the new and corrupt ideas of art had arisen, and so much money was
expended in rebuilding and altering the ancient edifices, that Rome
possesses far less interesting ecclesiastical buildings than many
comparatively small cities of Italy, and it is impossible to form the
least idea of the beauty of Italian mediæval art, without visiting those
places that have had the advantages of poverty and neglect, and the
consequent preservation of the ancient and appropriate fittings.