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Rh the church (St Mary Major s), sometimes ceased some little distance from the end, thus forming a transverse aisle or transept (St Paul s, Old St Peter s, St John Lateran). Where this transept occurred it was divided from the nave by a wide arch, the western face and soffit of which were richly decorated with mosaics. Over the crown of the arch we often find a bust of Christ or the holy lamb lying upon the altar, and, on either side, the evangelistic sym bols, the seven candlesticks, and the twenty-four elders. Another arch spanned the semicircular apse, in which the church always terminated. This was designated the arch of triumph, from the mosaics that decorated it representing the triumph of the Saviour and His church. The conch or semi-dome that covered the apse was always covered with mosaic pictures on a gold ground, usually paintings of our Lord, either seated or standing, with St Peter and St Paul, and other apostles and saints, on either hand. The beams of the roof were generally concealed by a fiat ceiling, richly carved and gilt. The altar, standing in the centre of the chord of the apse on a raised platform, reached by flights of steps, was rendered conspicuous by a lofty canopy supported by marble pillars (ciborium, baldacchino), from which depended curtains of the richest materials. Beneath the altar was the confessio, a subterranean chapel, contain ing the body of the patron saint, and relics of other holy persons. This was approached by descending flights of steps from the nave or aisles. The confessio in some cases reproduced the original place of interment of the patron saint, either in a catacomb-chapel or in an ordinary grave, and thus formed the sacred nucleus round which the church arose. We have good examples of this arrangement at St Peter s, St Paul s, St Pudenziana, and St Lawrence. It was copied, as we will see hereafter, in the original cathedral of Canterbury. The bishop or officiating pres byter advanced from his seat in the centre of the semicircle of the apse to the eastern side (ritually) of the altar, and celebrated the Eucharist with his face to the congregation below. At the foot of the altar steps a raised platform occupying the upper portion of the nave formed a choir for the singers, readers, and other inferior clergy. This oblong space was separated from the aisles and from the western portion of the nave by low marble walls or railings. From these walls projected ambones, or pulpits with desks, also of marble, ascended by steps. That for the reader of the gospel was usually octagonal, with a double flight of steps westward and eastward. That for the reader of the epistle was square or oblong. Fia. 5. Exterior view of St Apollinaris iu Classe, Ravenna. The exterior of the basilicas was usually of a repulsive plainness. The vast brick walls were unrelieved by ornament, without any compensating grace of outline or beauty of proportion. An exception was made for the west front, which was usually covered with plates of marble mosaics or painted stucco (Old St Peter s, St Lawrence s). This part was frequently crowned with a hollow projecting cornice (St Lawrence s, Ara Creli). But in spite of any decorations the external effect of a basilica must always have been heavy and unattractive. The annexed view of St Apollinaris in Classe at Ravenna affords a typical example. FIG. 6. Fa$ade of old St Peter s, Rome.

FIG. 1. Ground-Plan of the original Basilica of St Peter s at Rome. a, Porch. 6, Atrium. c, Cloisters. d, Narthcx. , Nave. /, /, Aisles. g, Bern a. ft, Altar, protected by a double screen. i, Bishop s throne in centre of the apse. k. Sacristy. I, Tomb of Ilonoriue. m, Church of St Andrew. To pass from general description to individual churches, the first place must be given, as the earliest and grandest examples of the type, to the world-famous Roman basilicas ; those of St Peter, St Paul, and St John Lateran, &quot; ommum urbis et orbis ecclesiarum mater et caput&quot; It is true that no one of these exists in its original form, Old St Peter s having been entirely removed in the 16th century to make room for its magnificent successor ; and both St Paul s and St John Lateran having been greatly injured by fire, and the last named being so completely modernized as to have lost all interest. Of the two former, however, we pos sess drawings, and plans, and minute descriptions, which give an accurate con ception of the ori ginal buildings. To commence with St Peter s, from the woodcuts annexed it will be seen that the cluirch was en tered through a vast colonnaded atrium, 212 feet by 235 feet, with a fountain in the centre, the atriuni being preceded by a porch mounted by a noble flight of steps. The church was 212 feet wide by 380 feet long ; the nave, 80 feet in width, was six steps lower than the side aisles, of which there were two on each side. The four dividing colonnades were each of twenty- two Corinthian columns. Those next the nave supported horizontal entabla tures. The inner colonnades bore arches, with a second clerestory. The main clerestory walls were divided into two rows of square panels