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DOON DE MAYENCE , a See also:hero of See also:romance, who gives his name to the third See also:cycle of the See also:Charlemagne romances, those dealing with the feudal revolts. There is no real unity in the geste of Doon de Mayence. The rebellious barons are connected by the
the See also:gates at Balawat (see fig.) (895–825 B.c.) were sheathed with See also:bronze (now in the See also:British Museum). These doors or gates were hung in two leaves, each about 8 ft. 4 in. wide and 27 ft. high; they were encased with bronze bands or strips, ro in. high, covered with repousse decoration of figures, &c. The See also:wood doors would seem to have been about 3 in. thick, but the See also:hanging See also:stile was over 14 in. in See also:diameter. Other sheathings of various sizes in bronze have been found, which proves this to have been the universal method adopted to protect the wood pivots. In the Hauran in See also:Syria, where See also:timber is scarce, the doors were made in 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, and one measuring 5 ft. 4 in. by 2 ft. q in. is in the British Museum; the See also:band on the See also:- MEETING (from " to meet," to come together, assemble, 0. Eng. metals ; cf. Du. moeten, Swed. mota, Goth. gamotjan, &c., derivatives of the Teut. word for a meeting, seen in O. Eng. Wit, moot, an assembly of the people; cf. witanagemot)
meeting stile shows that it was one of the leaves of a See also:double See also:door. At Kuffeir near Bostra in Syria, See also:Burckhardt found stone doors, 9 to io ft. high, being the entrance doors of the See also:town. In See also:Etruria many stone doors are referred to by See also:Dennis.
The See also:ancient See also:Greek and See also:Roman doors were
either single doors (yovoOipat, unif ores) , double
doors (&Obpat, bifores or geminae) or folding
doors (7rrUx€r, valvae); in the last See also:case the
leaves were hinged and folded back one over
Balawat Gates, the other. At See also:Pompeii, in the See also:portico of
sheath and socket. Eumachia, is a See also:painting of a door with three
From H%See also:story of AAs-
rt leaves, the two See also:outer ones of which were
in See also:Chaldaea and
syria, by permission of presumably hung, the inner See also:leaf folding on See also:Chapman & See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
Hall Ltd. one or the other; hinges connecting the folding leaves of a door have been found in Pompeii. In the See also:tomb of Theron at See also:Agrigentum there is a single four-See also:panel door carved in stone. In the Blundell collection is a bas-See also:relief of a See also:temple with double doors, each leaf with five panels. Among existing examples, the bronze doors in the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of SS. See also:Cosmas and Damiano, in See also:Rome, are important examples of Roman 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 See also:work of the best See also:period; they are in two leaves, each with two panels, and are framed in bronze. Those of the See also:Pantheon are similar in See also:design, with nfrrow See also:horizontal panels in addition, at the See also:top, bottom and See also:middle. Two other bronze doors of the Roman period are in the Lateran See also:Basilica.
The doors of the church of the Nativity at See also:Bethlehem (6th See also:century) are covered with plates of bronze, cut out in patterns: those of Sta See also:Sophia at See also:Constantinople, of the 8th and 9th century, are wrought in bronze, and the See also:west doors of the See also:cathedral of See also:Aix-la-Chapelle (9th century), of similar manufacture, were probably brought from Constantinople, as also some of those in St See also:Mark's, See also:Venice.
Of the rrth and 12th centuries there are numerous examples of bronze doors, the earliest being one at See also:Hildesheim, See also:Germany (ror5). Of others in See also:South See also:Italy and See also:Sicily, the following are the finest: in Sant' See also:Andrea, See also:Amalfi (ro6o); See also:Salerno (1099); See also:Canosa (111x); Troja, two doors (1119 and 1124); See also:Ravello (1179), by Barisano of See also:Trani, who also made doors for Trani cathedral; and in See also:Monreale and See also:Pisa cathedrals, by Bonano of Pisa. In all these cases the hanging stile had pivots at the top and bottom. The exact period when the See also:hinge was substituted is not quite known, but the See also:change apparently brought about another method of strengthening and decorating doors, viz. with wrought-See also:iron bands of See also:infinite varieties of design. As a See also:rule three bands from which the ornamental work springs constitute the hinges, which have rings outside the hanging See also:stiles fitting on to See also:vertical tenons run into the See also:masonry or wooden See also:frame. There is an See also:early example of the 12th century in See also:Lincoln; in See also:France the metal work of the doors of Notre See also:Dame at See also:Paris is perhaps the most beautiful in See also:execution, but examples are endless throughout France and See also:England.
Returning to Italy, the most celebrated doors are those of the See also:Baptistery of See also:Florence, which together with the door frames are all in bronze, the See also:borders of the latter being perhaps the most remarkable: the modelling of the figures, birds and foliage of the south See also:doorway, by Andrea See also:Pisano (1330), and of the See also:east doorway by See also:Ghiberti (1425–1452), are of See also:great beauty; in the See also:north door (1402–1424) Ghiberti adopted the same See also:- SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)
scheme of design for thepanelling and figure subjects in them as Andrea Pisano, but in the east door the rectangular panels are all filled with bas-reliefs, in which Scripture subjects are illustrated with innumerable figures, these being probably the gates of See also:Paradise of which See also:Michelangelo speaks.
The doors of the mosques in See also:Cairo were of two kinds; those which, externally, were cased with sheets of bronze or iron, cut out in decorative patterns, and incised or inlaid, with bosses in relief; and those in wood, which were framed with interlaced designs of the square and See also:diamond, this latter description of work being Coptic in its origin. The doors of the See also:palace at See also:Palermo, which were made by Saracenic workmen for the See also:Normans, are See also:fine examples and in See also:good preservation. A somewhat similar decorative class of door to these latter is found in See also:Verona, where the edges of the stiles and rails are bevelled and notched.
In the See also:Renaissance period the See also:Italian doors are quite See also:simple, their architects trusting more to the doorways for effect; but in France and Germany the contrary is the case, the doors being elaborately carved, especially in the See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XIV. and Louis XV. periods, and sometimes with architectural features such as columns and entablatures with See also:pediment and niches, the doorway being in See also:plain masonry. While in Italy the tendency was to give See also:scale by increasing the number of panels, in France the contrary seems to have been the rule; and one of the great doors at See also:Fontainebleau, which is in two leaves, is entirely carried out as if consisting of one great panel only.
The earliest Renaissance doors in France are those of the cathedral of St Sauveur at Aix (1503); in the See also:lower panels there are figures 3 ft. high in See also:Gothic niches, and in the upper panels a double range of niches with figures about 2 ft. high with canopies over them, all carved in See also:cedar. The south door of See also:Beauvais cathedral is in some respects the finest in France; the upper panels are carved in high relief with figure subjects and canopies over them. The doors of the church at See also:Gisors (1575) are carved with figures in niches subdivided by classic pilasters superimposed. In St Maclou at See also:Rouen are three magnificently carved doors; those by See also:Jean See also:Goujon have figures in niches on each See also:side, and others in a See also:group of great beauty in the centre. The other doors, probably about See also:forty to fifty years later, are enriched with bas-reliefs, landscapes, figures and elaborate interlaced borders.
In England in the 17th century the door panels were raised with " bolection " or projecting See also:mouldings, sometimes richly carved, See also:round them; in the 18th century the mouldings worked on the stiles and rails were carved with the See also:egg and See also:tongue See also:ornament. (R. P.
End of Article: DOON DE MAYENCE
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