Young Curly Reddish Blonde Girl Undresses Her Brassiere And Panties At The Door

Of the 11th and 12th centuries there are numerous examples of bronze doors, the earliest being one at Hildesheim, Germany (1015). The Hildesheim design affected the concept of Gniezno door in Poland. Of others in South Italy and Sicily, the following are the finest: in Sant Andrea, Amalfi (1060); Salerno (1099); Canosa (1111); Troia, 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 Battistero di San Giovanni (Florence), which together with the door frames are all in bronze, the borders of the latter being perhaps the most remarkable: the modeling 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 paneling 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 beveled 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.