This remarkable screen is of marble, about seven feet high, cut like a
panelled wall. A flight of steps ascends on each side behind the screen,
to an elevated platform, from which rise the steps and ciborium of the
altar; on this same level the Epistle and Gospel were sung by the deacon
and sub-deacon, from marble desks enriched with carvings, and fixed on
the entablature of the screens. There are two twisted candlesticks for
tapers, and it is probable that originally there were a greater number.
The altar, as usual, has its back turned towards the people; so that
this truly ancient and interesting church is in diametrical opposition
to the all-seeing principle of modern times.
I have figured a curious example of an iron screen from a painting in
the cathedral of Sienna, by Pinturicchio. I imagine this sort of metal
trellis screens to have been very common in the Italian churches.[10]
We next proceed to Florence, where the remains of mediæval architecture
are far more extensive and interesting than at Rome. The choir of the
cathedral is immediately under the dome; an octagon subasement supported
a screen of the Doric order, covered with sculptures and bas-reliefs.
This was only removed a few years since, and, in consequence of its
removal, the canons, in order to preserve themselves from the cold air,
usually officiate during the winter months in a glazed chapel, very like
a large counting-house, that has been erected on the north side of the
church. It is, I believe, practically impossible to keep choir in this
church without a screen.