were raised with
"bolection" or projecting mouldings, sometimes richly carved, round
them; in the 18th century the mouldings worked on the stiles and rails
were carved with the egg and tongue ornament. (R. P. S.)

DOORWAY (corresponding to the Gr. [Greek: pyle], Lat. _porta_), in
architecture, the entrance to a building, apartment or enclosure. The
term is more generally applied to the framing of the opening in wood,
stone or metal. The representations in painting, and existing examples,
show that whilst the jambs of the doorway in Egyptian architecture were
vertical, the outer side had almost the same batter as the walls of the
temples. In the doorways of enclosures or screen walls there was no
lintel, but a small projection inwards at the top, to hold the pivot of
the door. In Greece the linings of the earliest doorways at Tiryns were
in wood, and in 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 tomb of Agamemnon at Mycenae, 18 ft. in height, the width
is about 6 in. less at the top than at the bottom. The lintel of the
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 time. The
next step was to work a projecting moulding round the dressings and
lintel forming the architrave. Examples with shoulders in stone exist in
the Beule doorway of the Acropolis at Athens, in the tomb of Theron, and
in a temple at Agrigentum in Sicily; also in the temples of Hercules at
Cora, and of Vesta at Trivoli, and with a peculiar pendant in all the
Etruscan tombs. The most beautiful example of a Greek doorway is that
under the north portico of the Erechtheum (420 B.C.). There is a slight
diminution in the width at the top of the opening, and outside the
ordinary architrave mouldings (which here and in all classic examples
are derived from those of the architrave of an order) is a band with
rosettes, which recall the early decorative features in Crete and
Mycenae; the band being carried across the top of the lintel and
surmounted by a cornice supported on each side by corbels (ancones).

In the Roman doorways, excepting those at Cora and Tivoli, there is, as
a rule, no diminishing of the width, which is generally speaking half