A dictionary of Greek and Roman . round-plan of the door at p. 241, where thehinges are seen to be behind the jambs. Thisplan may also serve to show what Theocritusmeans by the hollow door-posts (aTaO/na Ko?AaSvpaoov, Idyll, xxiv. 15). In the Augustan ageit was fashionable to inlay the posts with tortoise-shell. (Virg. Georg. ii. 463.) Although the jambwas sometimes nearly twice the length of thelintel, it was made of a single stone even in thelargest edifices. A very striking effect was pro-duced by the height of these door-ways, as well asby their costly decorations, beautiful
A dictionary of Greek and Roman . round-plan of the door at p. 241, where thehinges are seen to be behind the jambs. Thisplan may also serve to show what Theocritusmeans by the hollow door-posts (aTaO/na Ko?AaSvpaoov, Idyll, xxiv. 15). In the Augustan ageit was fashionable to inlay the posts with tortoise-shell. (Virg. Georg. ii. 463.) Although the jambwas sometimes nearly twice the length of thelintel, it was made of a single stone even in thelargest edifices. A very striking effect was pro-duced by the height of these door-ways, as well asby their costly decorations, beautiful materials, andtasteful proportions. The door in the front of a temple, as it reachednearly to the ceiling, allowed the worshippers toview from without the entire statue of the divinity,. JANUA. and to observe the rites performed before it. Alsothe whole light of the building was commonly ad-mitted through the same aperture. These circum-stances are illustrated in the accompanying wood-cut, showing the front of a small temple of Jupiter, taken from a bas-relief. (Mon. Matt. vol. iii. ) The term antepagmentum, which has beenalready explained, and which was applied to the lin-tel as well as the jambs (antepagmentum superius,Vitruv. iv. 6. § 1), implies, that the doors opened in-wards. This is clearly seen in the same woodcut,and is found to be the construction of all ancientbuildings at Pompeii and other places. In someof these buildings, as for example, in that called the house of the tragic poet, even the marblethreshold rises about an inch higher than the bot-tom of the door (Gells Pompeiana, 2nd Ser. vol. 144), so that the door was in every part behindthe door-case. After the time of Hippias thestreet-doors were not permitted to open outwardlyat Athens (Becker, Charikles, vol. i. pp. 189, 200);and hence ivdovvai meant to open the door oncoming in, and iTuairdaaaOai or i<pe\Kvcracrdai toshut it on going out. In a single instance onlywere the doors allowe
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