The chapel's interior is quite plain and typical to 16th century church building in Malta. There are a number of arches leading to the altar. The titular painting depicting St Andrew was removed and can now be found in the sacristy of the parish church.
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The sanctuary is sparely furnished. Gently curved wooden pews with scroll armrests and recessed end panels flank the center aisle, leading to the altar. Its wooden flooring is now carpeted; the plaster walls have beaded wainscoting. Above, the wooden trusses with chamfered lower chords and collar ties that frame the roof are exposed.
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The ceiling follows the line of the rafters giving greater height to the internal space which is punctuated by two large tie beams. Both the walls and ceilings are lined with timber tongue and groove boarding. A series of generous steps lead to the altar. The timber floors are carpeted in the nave and polished at the steps with a central carpet runner leading to the altar.
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The high altar is usually the pièce de resistance: in many instances a single block of coloured marble, decorated with gilt scrolls and festoons, and frequently inset with other stones such as lapis lazuli and agate. Steps leading to the altar dais are characteristically curving between concave and convex and in many cases decorated with inlaid coloured marbles. An example of this is in the church of St Zita in Palermo. The building of Sicily's churches would typically be funded not just by individual religious orders but also by an aristocratic family.
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A much more plausible theory is that the templon models, in both form and content, the decorative wall of the Torah screen in Jewish synagogues of the 2nd and 3rd centuries. These, too, had three main divisions: a central door leading to the altar, smaller flanking passages, and a distribution of parts similar to a templon. The Torah screen was probably not the direct prototype of the templon; it probably derives from the imitation of the Torah screen in the altar of a typical Syrian pagan temple.Swift, Emerson Howland.
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Interior of the Cathedral of Christ the Savior On February 21, 2012, as part of a protest movement against the re- election of Vladimir Putin, five women from the group entered the Cathedral of Christ the Savior of the Russian Orthodox Church in Moscow. There was no church service in session at the time, and only a few people were in the cathedral. Removing their winter clothes, they put on colorful balaclavas, walked up the steps leading to the altar, and began to jump around, punching the air. After less than a minute, they were escorted outside the building by guards.
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Interior of the church Pipe organ at the right wing of the church Arches seen in the church interior Garden by National church of Nigeria The church is built in a neo-gothic style and has several pivoted arches with a wide nave leading to the altar. The altar, placed at the centre of the church completes a full rotation every ten minutes. A pipe organ is fitted to the right wing of the church, close to which sits the choir. Stained glass windows which employ a simple but attractive mix of yellow, green and red colours can be seen all around the church.
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After each name of a martyr or saint was chanted, invoking his or her intercession between God and the people, participants in the procession sang the Latin words, "Ora pro eo," meaning "Pray for him." This is a departure from the traditional, "Pray for us" or "Ora pro nobis." When the body of the pope was hoisted upon the steps of St. Peter's Basilica, the Papal Gentlemen turned the bier and lifted the pope's head to face the tens of thousands of people that filled St. Peter's Square. Cardinal Martínez Somalo noted it as the pope's symbolic last look at the devoted followers that had filled St. Peter's Square throughout the papacy of John Paul II. The procession ended with the seating of the College of Cardinals and the placement of the bier carrying the body of John Paul on a catafalque in front of the steps leading to the altar of St. Peter's Basilica.
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