An ardent soul will never hesitate to address inanimate objects; in
fact some of the finest passages of ancient and modern oratory are
apostrophes of this nature[62]. S. Andrew is said to have saluted the
cross, on which he suffered, S. Paula the birth-place of our divine
Lord; and theirs were words of love of God, and not of idolatry.

[Sidenote: High mass in the Sixtine chapel.]

In the Sixtine chapel the crucifix and tapestry over the altar are
covered with a white and not a purple veil; the throne also is white,
and the Pope is vested in a white cope. On the rich facing of the
altar is represented Christ dead, His descent into limbo, and His
resurrection. The cardinal dean generally celebrates the high mass,
after the _Gloria in excelsis_ of which no bells are allowed to be
tolled in Rome (except at the papal benediction) but in their stead
are used _troccole_ or boards struck with iron: this practice is
observed until the _Gloria in excelsis_ is sung in the papal chapel
on the following saturday-morning[63].

After the offertory of the mass Palestrina's motet _Fratres ego enim_
is sung; of which Baini says that he "does not hesitate to affirm that
it resembles as closely as possible the music of heaven". Two hosts
are consecrated, one of which is received by the celebrant, and the
other destined for the following day is put into a chalice, which the
deacon covers with a paten and _palla_ or linen cloth, as the dead
body of Christ was wrapped in "fine linen"[64]. Mark XV, 46. At
the beginning of the canon twelve lighted torches are brought in
by _bussolanti_; and after the elevation two masters of ceremonies
distribute among the cardinals and others candles carried by clerks of
the chapel, in preparation for the procession. The usual kiss of peace