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