See also:

• DOORWAY (corresponding to the Gr. Iran, Lat. porte)

DOORWAY (corresponding to the Gr. See also:

• IRAN

Iran, See also:

• LAT

Lat. See also:

• PORTE, THE SUBLIME (Arab. babi-'ali, the high gate, through the French translation la sublime porte)

porte)  , in See also:

• ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

architecture, the entrance to a See also:

• BUILDING

building, apartment or enclosure . The See also:

• TERM

term is more generally applied to the framing of the opening in See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, See also:

• STONE
• STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
• STONE, CHARLES POMEROY (1824-1887)
• STONE, EDWARD JAMES (1831-1897)
• STONE, FRANK (1800-1859)
• STONE, GEORGE (1708—1764)
• STONE, LUCY [BLACKWELL] (1818-1893)
• STONE, MARCUS (184o— )
• STONE, NICHOLAS (1586-1647)

stone or See also:

• METAL
• METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)

metal . The representations in See also:

• PAINTING

painting, and existing examples, show that whilst the jambs of the See also:

• DOORWAY (corresponding to the Gr. Iran, Lat. porte)

doorway in See also:

• EGYPTIAN

Egyptian architecture were See also:

• VERTICAL (from Lat. vertex, highest point)

vertical, the See also:

• OUTER

outer See also:

• SIDE
• SIDE (mod. Eski Adalia)

side had almost the same See also:

• BATTER

batter as the walls of the temples . In the doorways of enclosures or See also:

• SCREEN (usually, but very doubtfully, connected with Lat. scrinium, a box for holding books, from scribere, to write; a connexion with Ger. Schranke, barrier, has been suggested)

screen walls there was no See also:

• LINTEL (0. Fr. lintel, mod. linteau, from Late Lat. limitellum, limes, boundary, confused in sense with limen, threshold; the Latin name is supercilium, Ital. soprasogli, and Ger. Stutz)

lintel, but a small See also:

• PROJECTION

projection inwards at the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top, to hold the See also:

• PIVOT (Fr. pivot; probably connected with Ital. pivolo, peg, pin, diminutive of piva, pipa, pipe)

pivot of the See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door . In See also:

• GREECE

Greece the linings of the earliest doorways at See also:

• TIRYNS

Tiryns were in wood, and in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to lessen the bearing of the lintel the dressings or jambs (antepagmenta) sloped inwards, so that the width of the doorway opening was less at the top than at the bottom . In the entrance doorway of the See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb of See also:

• AGAMEMNON

Agamemnon at See also:

• MYCENAE

Mycenae, 18 ft. in height, the width is about 6 in. less at the top than at the bottom . The lintel of the See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek doorway projected on either side beyond the dressings, constituting what are known as the shoulders or knees (projecturae), a characteristic feature which has been retained down to our See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time . The next step was to See also:

• WORK

work a projecting moulding See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the dressings and lintel forming the See also:

• ARCHITRAVE (from Lat. arcus, an arch, and trabs, trabem, a beam)

architrave . Examples with shoulders in stone exist in the Beule doorway of the See also:

• ACROPOLIS (Gr. aKpos, top, a6)Xts, city)

Acropolis at See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens, in the tomb of Theron, and in a See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

temple at See also:

• AGRIGENTUM (Gr. 'Arcpayas, mod. Girgenti (q.v.))

Agrigentum in See also:

• SICILY (Ital. Sicilia)

Sicily; also in the temples of See also:

• HERCULES
• HERCULES (0. Lat. Hercoles, Hercles)

Hercules at Cora, and of See also:

• VESTA (Gr. 'Errata)

Vesta at Trivoli, and with a See also:

• PECULIAR

peculiar See also:

• PENDANT (through Fr. from Lat. pendere, to hang)

pendant in all the See also:

• ETRUSCAN

Etruscan tombs . The most beautiful example of a Greek door-way is that under the See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

north See also:

• PORTICO (Ital. for " porch," Lat. porticus)

portico of the See also:

• ERECHTHEUM

Erechtheum (420 B.C.) . There is a slight diminution in the width at the top of the opening, and outside the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary architrave See also:

• MOULDINGS

mouldings (which here and in all classic examples are derived from those of the architrave of an order) is a See also:

• BAND

band with rosettes, which recall the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early decorative features in See also:

• CRETE (Gr. Kp;rrrr; Turk. Kirid, Ital. Candia)

Crete and Mycenae; the band being carried across the top of the lintel and surmounted by a See also:

• CORNICE (Fr. corniche, Ital. cornice)

cornice supported on each side by .corbels (ancones) . In the See also:

• ROMAN

Roman doorways, excepting those at Cora and See also:

• TIVOLI (anc. Tibur, q.v.)

Tivoli, there is, as a See also:

• RULE

rule, no diminishing of the width, which is generally speaking See also:

• HALF

half of the height .

The dimensions of some of the Roman doorways are enormous; in the temple of the See also:

• SUN
• SUN (0. Eng. sonne, Ger. sonne. Fr. soleil, Lat. sol, Gr. ijXior, from which comes helio- in various English compounds)

Sun at See also:

• PALMYRA

Palmyra the doorway is 15 ft . 6 in. wide and 33 ft. high; and in the temple of See also:

• JUPITER

Jupiter at Baalbec, 20 ft. wide and 45 ft. high, the lintel is composed of three stones forming voussoirs the See also:

• KEYSTONE

keystone measuring 7 ft. at the bottom, 8 ft. at the top, to ft. high and 7 ft . 6 in. deep . All the doorways mentioned above have cornices, and in those at Palmyra and Baalbec richly carved friezes with side corbels . In the See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon there is a See also:

• PLAIN (O. Fr. plain, from Lat. plenum)

plain See also:

• CONVEX

convex See also:

• FRIEZE

frieze, but the outer mouldings of the architrave and the See also:

• BED
• BED (a common Teutonic word, cf. German Bett, probably connected with the Indo-European root bhodh, seen in the Lat. fodere, to dig; so " a dug-out place " for safe resting, or in the same sense as a garden " bed ")

bed-See also:

• MOULD

mould of the cornice are richly carved . In the See also:

• BYZANTINE

Byzantine doorways at Sta See also:

• SOPHIA (1630-1714)

Sophia, See also:

• CONSTANTINOPLE
• CONSTANTINOPLE, COUNCILS OF

Constantinople, a bold convex moulding and a hollow take the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place of the fasciae of the classic architrave . So far we have only referred to square-headed doorways, but the side openings of the triumphal See also:

• ARCHES, COURT OF

arches of See also:

• TITUS
• TITUS, FLAVIUS SABINUS VESPASIANUS
• TITUS, THE EPISTLE TO

Titus and See also:

• CONSTANTINE

Constantine are virtually doorways, and they have semicircular heads, the mouldings of which are the same as those of the square-headed examples . In Saxon doorways, which had semicircular heads, the outer mouldings projected more boldly than in classic examples, and were sometimes cut in a See also:

• SEPARATE

separate See also:

• RING (O.E. hring; a word common to Teutonic languages; and probably cognate with the Lat. circus, Gr. KtpKOS or KpLKOS, Skt'. chakra, wheel, circle, cf. also " harangue "); in art, a band of circular shape of varying sizes, made of any material and used f

ring of stone like the See also:

• HOOD,
• HOOD, JOHN BELL (1831–1879)
• HOOD, SAMUEL HOOD, VISCOUNT (1724–1816)
• HOOD, SIR SAMUEL (1762-1814)
• HOOD, THOMAS (1799-1845)
• HOOD, TOM (1835–1874)

hood mould of later date . During the Romanesque See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period in all countries, the doorway becomes the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief characteristic feature, and consists of two or more orders, the term " order " in this See also:

• CASE
• CASE, JOHN (d. 1600)

case being applied to the concentric rings of voussoirs forming the door-See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head . In classic work the faces of these concentric rings were nearly always flush one with the other; in Romanesque work the upper one projected over the ring immediately below, and the employment of a different See also:

• DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design in the See also:

• CARVING

carving of each ring produced a magnificent and imposing effect: in the See also:

• ITALIAN

Italian churches the decoration of the See also:

• ARCH
• ARCH, JOSEPH (1826– )

arch mould is frequently carried down the door jambs, and the same is found, but less often, in the See also:

• ENGLISH

English and See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French doorways; but as a rule each ring or order is carried by a nook See also:

• SHAFT
• SHAFT (O. Eng., sceaft, from scafan, to shave; the word is common to Teutonic languages)

shaft, those in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England and See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France being plain, but in See also:

• ITALY
• ITALY (Italia)

Italy and Sicily elaborately carved with spirals or other ornaments and sometimes inlaid with See also:

• MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic . The deeply recessed See also:

• NORMAN
• NORMAN, SIR HENRY WYLIE (1826-1904)

Norman doorways in English work required a See also:

• GREAT

great thickness of See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall, and this was sometimes obtained by an addition outside, as at Iffley, Adel, Kirkstall and other churches . In France, during the See also:

• GOTHIC

Gothic period, the several orders were carved with figure See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture, as also the door jambs; and the great recessing of these doorways brought them more into the categories of porches .

In England much less importance was given to the Gothic doorways, and although they consisted of many orders, these were emphasized only by deep hollows and converse mouldings and always carried on See also:

• ANGLE (from the Lat. angulus, a corner, a diminutive, of which the primitive form, angus, does not occur in Latin; cognate are the Lat. angere, to compress into a bend or to strangle, and the Gr. ayKOS, a bend; both connected with the Aryan root ank-, to

angle or nook shafts . In the perpendicular period the pointed-arch doorway was often enclosed within a square head-moulding, the spandrel being enriched with foliage or See also:

• QUATREFOIL

quatrefoil See also:

• TRACERY

tracery . In the See also:

• MAHOMMEDAN

Mahommedan See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style the doorway itself is comparatively See also:

• SIMPLE

simple, except that the voussoirs of its lintel are joggled with a See also:

• SERIES (a Latin word from serere, to join)

series of curves, and being of different coloured stones have a decorative effect . These doorways are placed in a rectangular See also:

• RECESS (Lat. recessus, a going back, withdrawal, from recedere, to withdraw)

recess roofed with the stalactite vault . With the See also:

• RENAISSANCE, THE

Renaissance architect, the doorway continued as the See also:

• PRINCIPAL

principal characteristic of the style; the actual door-See also:

• FRAME

frame was simply moulded, by enclosing it with pilasters or columns, isolated or semi-detached, raised on pedestals and carrying an See also:

• ENTABLATURE (Lat. in, and tabula, a tablet)

entablature with See also:

• PEDIMENT (equivalents, Gr. &ros, Lat. fastigium, Fr. ponton)

pediment and other See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of super-doorway; and great importance was given to.the feature . In the Italian cinquecento period, the panels of the side pilasters were enriched with the most elaborate carving, and this would seem to havebeen an See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient Roman method, to See also:

• JUDGE (Lat. judex, Fr. juge)

judge by portions of carved panels now in the museums of See also:

• ROME
• ROME (Roma)

Rome . The doorways of See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice are remarkable in this respect . At See also:

• COMO (anc. Comum)
• COMO, LAKE OF (the Lacus Larius of the Romans, and so sometimes called LARIO to the present day, though in the 4th century it is already termed Lacus Comacinus)

Como the two side doorways of the See also:

• CATHEDRAL

cathedral, one of which is said to be by See also:

• BRAMANTE, or BRAMANTE

Bramante, are of great beauty, and the same See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich decoration is found throughout See also:

• SPAIN
• SPAIN (Espana)

Spain and France . In See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany and England the See also:

• PATTERN

pattern See also:

• BOOK

book too often suggested designs of an extremely See also:

• ROCOCO, or ROCAILLE

rococo See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and it was under the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of See also:

• PALLADIO, ANDREA (1518-1580)

Palladio, through Inigo See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones, that in England the architect returned to the simpler and purer Italian style . (R . P .