Internal doorways in Jacobean times had frequently been lavishly ornamented, and the desire to achieve a handsome result had occasionally led to an extraordinary elaboration. In this respect, as in others, the cultivated taste of trained architects, such as Inigo Jones and Webb, led to a more sober and carefully calculated result. This may be seen at Raynham Park (Fig. 193) by Jones, and at Thorpe Hall (Fig. 194) by Webb, where there is a delightful mixture of freedom and austerity. Then came Wren with his massive and masculine hand, of which the influence, although probably not immediate and direct, is visible in the doorways at Combe Abbey (Fig. 195) and Love Lane (Fig. 210).

A type of general treatment became firmly established. The very large panels of the end of the seventeenth century, such as those adopted at Love Lane, gave place to smaller. Instead of two, doors had six or even more panels. They were surrounded by a bold architrave, and surmounted by an overdoor consisting of frieze and cornice, as may be seen in the example from Hatton Garden (Fig. 186); from the book of Abraham Swan (Fig. 187); from the old War Office (Fig. 188); or from the later houses shown in Fig. 196. All the component parts of the design—the architrave, the frieze, the cornice—lent themselves to enrichment by carving. But this was generally applied with discretion, and with a well-regulated wish to heighten the effect without overdoing it. The carving changed in character with the lapse of years. In the early part of the century it retained the boldness imparted by Wren and Vanbrugh, but gradually its vigour gave way to the delicacy and refinement associated with the names of the brothers Adam, of which type an excellent example is shown from Sheen House (Fig. 196, b).

195. Doorway at Combe Abbey (1686).

Probably designed by Captain Wynne.

196. Three Internal Doorways.

197. Chimney-piece from Raynham Hall.