DESIGN AND ORNAMENTATION OF DOORS 129 



Jones, but the detail of the work is so unlike anything which 

 remains of Jones's own draughtsmanship, that the correctness 

 of the attribution is very doubtful. The stonework of this par- 

 ticular door, however, is not unlike some of the doorways with 

 which the name of Jones is connected, now preserved at the 

 Royal Institute of British Architects. The woodwork has no 

 counterpart among his designs. 



If we want to see the scholar's idea of what a doorway should 

 be, we must turn to Jones's drawing of one for the Banqueting 

 House (Fig. 86), or to Webb's design for one in the palace at 

 Greenwich, the block which he designed for Charles II. (Fig. 87). 

 The former is entitled in Jones's writing, " Scitzo for the Great 

 Doore Ban. Ho. 1619." It has the logically indefensible broken 

 pediment, making room for an unfinished cartouche which was 

 doubtless to receive the royal arms. On the panel in the frieze 

 is indicated an inscription commencing with the first letters of 

 Jacobus Rex Magnae Britanniae ; below it is an ornament in 

 which the strapwork motif lingers. The whole effect is strong, 

 handsome, and well proportioned. If it was ever actually carried 

 out, it has now disappeared. Webb's drawing is entitled in his 

 own writing, " Greenwich, ffor the dore going out of the Cabinet 

 into the gallery 1663." The whole composition is not unlike 

 Jones's, but it is larger, although the door itself is smaller. The 

 draughtsmanship in both is somewhat alike, but the difference 

 is just that which distinguishes the work of the one man from 

 that of the other. Jones's is the more virile and direct. The 

 figures on the pediment at Greenwich are named as " Liberality 

 and Magnanimity," at the other end were to be " Religion and 

 Justice." It must be admitted that their different attributes are 

 not clearly indicated. A note at the side shows that this door- 

 way was Webb's own design ; it reads <% M e I must alter these 

 measures and make them thus," then follow the altered 

 dimensions. 



It has already been pointed out how the mullioned window 

 was gradually altered by the introduction of a wider light 

 surmounted by an arch (Fig. 66), or by the introduction of an 

 elliptical light (Fig. 70). But the mullioned window in any 

 form was out of place in a truly classic design. Jones has an 

 early drawing of 1616 in which he makes use of it, as well as of 

 other Jacobean features, but it is doubtful whether any executed 

 work of his can show a stone mullioned window. The type 



