Father Bonanni, who wrote in the seventeenth century, describes the chapel as arranged in the following manner:—1. The altar. 2. The pope's throne. 3. The benches for the cardinals and prelates. 4. An enclosed space for the religious and officers of the pope's court. 5. A sort of balustrade which separates these portions from the laity: at the top of this balustrade are placed four, six, or seven tapers, according to the solemnity of the time.
The term balustrade has been usually applied by old writers to screens, and must not be understood in the modern acceptation, of signifying a sort of rail hand high; in this instance we have a clear proof to the contrary, for the screen termed a balustrade is still standing, and, with the exception of the style of pillars and mouldings, is very similar to those erected in Pointed churches. Trevoux, in his great dictionary, has the following explanation of the word: "Balustre also signifies those small pillars to shut off the alcove in a room, or the chancel of a church or chapel. Columellæ, Cancelli, &c." In this sense they are always to be understood when mentioned by old writers in reference to church architecture. Low balustrades, or rails, were unknown to antiquity. The enclosures were always of a sufficient height to prevent persons getting over them, and the low rails round altars, are, in England, a pure Protestant introduction, and originated in the necessity of preventing the gross irreverence offered by the Puritan party to the holy tables, on which they frequently sat during the sermon. If the word balustrade as used by French and Italian writers, be not thoroughly understood, it must lead to a misconception of the old arrangements. Pistolezi, in his great work on the Vatican, describes this screen as a balustrade; his words are as follows:—"La Capella—e divisa in due spartamenti, il minore, che della Porta alla Balustrata de marmore si estende, serve per i Laici," &c.
THE QUIRINAL CHAPEL
Has a wall in the same position as the screen of the Sistine chapel, about five feet high, surmounted by pillars, bearing candelabra for large wax tapers, but the spaces between these are open. This was set up in the pontificate of Pius VI.
SAN CLEMENTE.
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.
THE BASILICA OF ST. NEREI AND ACHILLE, ROME.[9]
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]