In the hands of Inigo Jones and Webb both doorways and windows assumed a correct Italian appearance, but in less learned hands there were intermediate stages of development between the Jacobean type and the full classic. Such a one may be seen in the library door at St John’s College, Oxford (Fig. 85), and in an external door at Brasenose College (Fig. 84), part of the work already referred to. The library at St John’s was built in 1631 by Archbishop Laud, who was at that time Bishop of London and Chancellor of the University of Oxford. It is said that he obtained the help of Inigo 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 particular 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 scholars 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 Magnæ Britanniæ; 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 doorway was Webb’s own design; it reads “M^e I must alter these measures and make them thus,” then follow the altered dimensions. [Illustration: FIG. 84.--Doorway at Brasenose College, Oxford, 1656.] [Illustration: FIG. 85.--Doorway at St John’s College, Oxford, 1631.] [Illustration: FIG. 86.--Banqueting House, Whitehall. “Scitzo of the Great Doore, Ban. Ho., 1619,” by Inigo Jones.] [Illustration: FIG. 87.--Doorway at Greenwich Palace, 1663, by Webb.]