precinct surrounded with a colonnade in the centre of which stands a peripteral temple; the
intercolumniations of the peristyle, except the centre one, are filled with ornamental gratings
apparently of metal. A female, who is as high as the whole bas-relief and consequently out
of all proportion with the temple, carries in her hand a wreath, which she appears about to
attach to the cornice of the peristyle. In the centre of the temple is this door, which is here
represented with the columns and the cancellated work, in order to give the reader a correct
idea of the effect of the whole, as so much depends upon the various accompaniments, which
compose with the door and make one whole. It is to be observed, however that the edge of
the original marble occurs at the very centre of the door so as to cut the temple apparently
in  half.  The architrave, the  styles, rails and panels are all given; and the curious
representation of knockers pendent from lions' masks proves an affinity between ancient and
modern usages. The large circular knobs represent the rosettes such as exist upon the bronze
doors of the Pantheon described hereafter. The sculptor appears to have been obliged to narrow
considerably the width of the door, so as to give it a very disproportionate height; but he has
made the aperture diminish at top-thus adhering to one of the leading rules of Vitruvius.
PLATE IX.
DOORWAY FROM THE PORTICO OF EUMACHIA, POMPEII.
This example is painted upon the wall of the recess or niche under the eastern colonnade
of this building.* It appears intended to represent a three leaved door, which, if they folded,
would leave an aperture to each of somewhat more than two feet. The small object in the
lower center panel is at the height of several feet from the ground. It is difficult to decide what
it is meant to represent, it being too high for a latch or knocker, unless it was usual to suspend
from it a cord or chain. The middle rail is placed at two thirds of the height of the opening
-the bottom rail has a greater depth given it, as is our custom, although not prescribed by
Vitruvius. The general proportions conform with sufficient accuracy to the precepts of the
Roman, as an inspection of the tabular scale at the beginning of this work will shew.
PLATE X.
DOORWAY FROM CEPHALAEDIUM, SICILY.
We have in this door the first variation from the simple architrave as a dressing, the
antepagmentum being made to diverge on each side at its summit, so as to form knees, called
by Vitruvius " projecturoe."  I have been favored with this, as well as with the two other
doors all from Cefalu, by my friend Mr. Joseph Woods, well known as the editor to the fourth
volume of the Antiquities of Athens, compiled from the papers of the celebrated Stuart -
by, his travels and by other productions. This drawing has been enlarged from one drawn out
accurately, but to which had been put only the solitary dimension given in the plate, defining
the size of the architrave; the composition of the antepagment is extraordinary and the
proportion of moulding to plane face preponderating. There is also a want of projection of
one moulding before the other, which in such a mass produces confusion, and renders the
composition deficient in effect.  The weathering at top is curious and the two horns at the
angles peculiar: the opening does not appear to contract at top.
* Donaldson's Pompeii engraved by W. B. Cooke, vol. i; c. 2; p. 53; Gell's Pompeiana, new series, p. 21; pl. ix.