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    "source_title": "Encyclopaedia Britannica (1911)",
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    "chunk_id": "1911:doon de mayence:379b495da15f",
    "title": "DOON DE MAYENCE",
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    "verified_text": "doon de mayence, a hero of romance, who gives his name to the third cycle of the 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 _trouveres_ with doon by imaginary genealogical ties, and all are represented as in opposition to charlemagne, though their adventures, in so far as they possess a historical basis, must generally be referred to earlier or later periods than the reign of the great emperor. the general insolence of their attitude to the sovereign suggests that charlemagne is here only a name for his weaker successors. the tradition of a traitorous family of mayence, which was developed in italy into a series of stories of criminals, was however anterior to the carolingian cycle, for an interpolator in the chronicle of fredegarius states (iv. 87) that the army of sigebert was betrayed from within its own ranks by men of mayence in a battle fought with radulf on the banks of the unstrut in thuringia. the chief heroes of the poems which make up the _geste_ of doon de mayence are ogier the dane (q.v.), the four sons of aymon (see renaud), and huon of bordeaux (q.v.). it is probable that doon himself was one of the last personages to be clearly defined, and that the _chanson de geste_ relating his exploits was drawn up partly with the view of supplying a suitable ancestor for the other heroes. the latter half of the poem, the story of doon's wars in saxony, is perhaps based on historical events, but the earlier half, which is really a separate romance dealing with his romantic childhood, is obviously pure fiction and dates from the 13th century. doon had twelve sons: gaufrey de dane marche (ardennes?), the father of ogier; doon de nanteuil, whose son garnier married the beautiful aye d'avignon; griffon d'hauteville, father of the arch-traitor ganelon; aymon de dordone or dourdan, whose four sons were so relentlessly pursued by charles; beuves d'aigremont, whose son was the enchanter maugis; sevin or seguin, the father of huon of bordeaux; girard de roussillon, and others less known. the history of these personages is given in _doon de mayence_, _gaufrey_, the romances relating to ogier, _aye d'avignon_, the fragmentary _doon de nanteuil_, _gui de nanteuil_, _tristan de nanteuil_, _parise la duchesse_, _maugis d'aigremont_, _vivien l'amachour de monbranc_, _renaus de montauban or les quatre fils aymon_, and _huon de bordeaux_. some of this material, which dates in its existing form from the 12th and 13th centuries, remains unpublished, but the chief poems are available in the series of _anciens poetes de la france_ (1859, &c). see _hist. litt. de la france_, vols. xxii. and xxvi. (1852 and 1873), for analyses of these poems by paulin paris; also j. barrois, _elements carolingiens_ (paris, 1846); w. niederstadt, _alter und heimat der altfr. doon_ (greifswald, 1889). the prose romance, _la fleur des batailles doolin de mayence_, was printed by antoine verard (paris, 1501), by alain lotrian and denis janot (paris, c. 1530), by n. bonfons (paris; no date), by j. waesbergue (rotterdam, 1604), &c. door (corresponding to the gr. [greek: thura], lat. _fores_ or _valvae_; the english word, with other forms common in allied languages, comes from the same indo-european stem as the gr. [greek: thura] and lat. _fores_), in architecture, the slab, flap or leaf forming the enclosure of a doorway (q.v.), either in wood, metal or stone. the earliest records are those represented in the paintings of the egyptian tombs, in which they are shown as single or double doors, each in a single piece of wood. in egypt, where the climate is intensely dry, there would be no fear of their warping, but in other countries it would be necessary to frame them, which according to vitruvius (iv. 6.) was done with stiles (_scapi_) and rails (_impages_): the spaces enclosed being filled with panels (_tympana_) let into grooves made in the stiles and rails. the stiles were the vertical boards, one of which, tenoned or hinged, is known as the hanging stile, the other as the middle or meeting stile. the horizontal cross pieces are the top rail, bottom rail, and middle or intermediate rails. the most ancient doors were in timber, those made for king solomon's temple being in olive wood (1 kings vi. 31-35), which were carved and overlaid with gold. the doors dwelt upon in homer would appear to have been cased in silver or brass. besides olive wood, elm, cedar, oak and cyprus were used. all ancient doors were hung by pivots at the top and bottom of the hanging stile which worked in sockets in the lintel and cill, the latter being always in some hard stone such as basalt or granite. those found at nippur by dr hilprecht, dating from 2000 b.c.. were in dolorite. the tenons of the gates at balawat (see fig.) (895-825 b.c.) were sheathed with bronze (now in the 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, 10 in. high, covered with repousse decoration of figures, &c. the wood doors would seem to have been about 3 in. thick, but the hanging stile was over 14 in. in 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 syria, where timber is scarce, the doors were made in stone, and one measuring 5 ft. 4 in. by 2 ft. 7 in. is in the british museum; the band on the meeting stile shows that it was one of the leaves of a double door. at kuffeir near bostra in syria, burckhardt found stone doors, 9 to 10 ft. high, being the entrance doors of the town. in etruria many stone doors are referred to by dennis. [illustration: balawat gates, sheath and socket. from _history of art in chaldaea and assyria_, by permission of chapman & hall ltd.] the ancient greek and roman doors were either single doors ([greek: monothyrai], _unifores_), double doors ([greek: dithyrai], _bifores_ or _geminae_) or folding doors ([greek: ptyches], _valvae_); in the last case the leaves were hinged and folded back one over the other. at pompeii, in the portico of eumachia, is a painting of a door with three leaves, the two outer ones of which were presumably hung, the inner leaf folding on one or the other; hinges connecting the folding leaves of a door have been found in pompeii. in the tomb of theron at agrigentum there is a single four-panel door carved in stone. in the blundell collection is a bas-relief of a temple with double doors, each leaf with five panels. among existing examples, the bronze doors in the church of ss. cosmas and damiano, in rome, are important examples of roman metal work of the best period; they are in two leaves, each with two panels, and are framed in bronze. those of the pantheon are similar in design, with narrow horizontal panels in addition, at the top, bottom and middle. two other bronze doors of the roman period are in the lateran basilica. the doors of the church of the nativity at bethlehem (6th century) are covered with plates of bronze, cut out in patterns: those of sta sophia at constantinople, of the 8th and 9th century, are wrought in bronze, and the west doors of the cathedral of aix-la-chapelle (9th century), of similar manufacture, were probably brought from constantinople, as also some of those in st mark's, venice. of the 11th and 12th centuries there are numerous examples of bronze doors, the earliest being one at hildesheim, germany (1015). of others in south italy and sicily, the following are the finest: in sant' andrea, amalfi (1060); salerno (1099); canosa (1111); troja, two doors (1119 and 1124); ravello (1179), by barisano of trani, who also made doors for trani cathedral; and in monreale and 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 hinge was substituted is not quite known, but the change apparently brought about another method of strengthening and decorating doors, viz. with wrought-iron bands of infinite varieties of design. as a rule three bands from which the ornamental work springs constitute the hinges, which have rings outside the hanging stiles fitting on to vertical tenons run into the masonry or wooden frame. there is an early example of the 12th century in lincoln; in france the metal work of the doors of notre dame at paris is perhaps the most beautiful in execution, but examples are endless throughout france and england. returning to italy, the most celebrated doors are those of the baptistery of florence, which together with the door frames are all in bronze, the borders of the latter being perhaps the most remarkable: the modelling of the figures, birds and foliage of the south doorway, by andrea pisano (1330), and of the east doorway by ghiberti (1425-1452), are of great beauty; in the north door (1402-1424) ghiberti adopted the same scheme of design for the panelling 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 paradise of which michelangelo speaks. the doors of the mosques in 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 diamond, this latter description of work being coptic in its origin. the doors of the palace at palermo, which were made by saracenic workmen for the normans, are fine examples and in good preservation. a somewhat similar decorative class of door to these latter is found in verona, where the edges of the stiles and rails are bevelled and notched. in the renaissance period the italian doors are quite 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 louis xiv. and louis xv. periods, and sometimes with architectural features such as columns and entablatures with pediment and niches, the doorway being in plain masonry. while in italy the tendency was to give scale by increasing the number of panels, in france the contrary seems to have been the rule; and one of the great doors at 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 lower panels there are figures 3 ft. high in 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 cedar. the south door of 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 gisors (1575) are carved with figures in niches subdivided by classic pilasters superimposed. in st maclou at rouen are three magnificently carved doors; those by jean goujon have figures in niches on each side, and others in a group of great beauty in the centre. the other doors, probably about 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 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 of the height. the dimensions of some of the roman doorways are enormous; in the temple of the sun at palmyra the doorway is 15 ft. 6 in. wide and 33 ft. high; and in the temple of jupiter at baalbec, 20 ft. wide and 45 ft. high, the lintel is composed of three stones forming voussoirs the keystone measuring 7 ft. at the bottom, 8 ft. at the top, 10 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 pantheon there is a plain convex frieze, but the outer mouldings of the architrave and the bed-mould of the cornice are richly carved. in the byzantine doorways at sta sophia, constantinople, a bold convex moulding and a hollow take the 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 arches of titus and 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 separate ring of stone like the hood mould of later date. during the romanesque period in all countries, the doorway becomes the chief characteristic feature, and consists of two or more orders, the term \"order\" in this case being applied to the concentric rings of voussoirs forming the door-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 design in the carving of each ring produced a magnificent and imposing effect: in the italian churches the decoration of the arch mould is frequently carried down the door jambs, and the same is found, but less often, in the english and french doorways; but as a rule each ring or order is carried by a nook shaft, those in england and france being plain, but in italy and sicily elaborately carved with spirals or other ornaments and sometimes inlaid with mosaic. the deeply recessed norman doorways in english work required a great thickness of wall, and this was sometimes obtained by an addition outside, as at iffley, adel, kirkstall and other churches. in france, during the gothic period, the several orders were carved with figure 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 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 quatrefoil tracery. in the mahommedan style the doorway itself is comparatively simple, except that the voussoirs of its lintel are joggled with a series of curves, and being of different coloured stones have a decorative effect. these doorways are placed in a rectangular recess roofed with the stalactite vault. with the renaissance architect, the doorway continued as the principal characteristic of the style; the actual door-frame was simply moulded, by enclosing it with pilasters or columns, isolated or semi-detached, raised on pedestals and carrying an entablature with pediment and other 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 have been an ancient roman method, to judge by portions of carved panels now in the museums of rome. the doorways of venice are remarkable in this respect. at como the two side doorways of the cathedral, one of which is said to be by bramante, are of great beauty, and the same rich decoration is found throughout spain and france. in germany and england the pattern book too often suggested designs of an extremely rococo character, and it was under the influence of palladio, through inigo jones, that in england the architect returned to the simpler and purer italian style. (r. p. s.)",
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