Neo-Classical Doors

My door theme for this week includes doors that are part of a Neo-Classical entry design. The first common elements associated with this theme are columns that have a Classical motif. In my first example, the columns are a “faux” element applied to the simple exterior of an industrial building. The other two examples include actual columns – with the third one having columns that physically support a portico above the main entrance.

The second common element is the fanlight window above each door. All three windows have radiating mullions which fan out from the top of the door.

All of these door images are from Toronto, where this style of architecture is often referred to as “Georgian.”

For more blog posts on doors, visit Norm’s Thursday Doors post for this week.

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Neo-Classical entry 1
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Neo-Classical entry 2
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Neo-Classical entry 3

Doors of the UK – Part 2

My original post of three doors from the UK (albeit two were actually from Ireland) was not intended to be serialized as a weekly post. But then Norm from Thursday Doors commented on my doors – and so we have progressed on a new track.

In this week’s post I am revisiting my collection and adding three more doors from the UK.  I have also corrected the title of my earlier post and sub-titled it “Part 1.”

The first two images are of grand Georgian doors from the Royal Crescent in Bath. I came across these doors in mid-December one year, just following the first snow fall of the season. In some parts of the world, we are still seeing some snow, so these doors are still “in season.”

Apparently, door No. 22 has received some notoriety, due to its colour. In the 1970’s, the resident of No. 22 painted her door yellow, while all of the other doors were painted white. The Bath City Council insisted it should be repainted white, the Secretary of State for the Environment intervened, and the door remained yellow. Rebellion in Bath!

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No. 22 The Royal Crescent
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No. 23 The Royal Crescent
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Door No. 10, somewhere in Oxford

The third door image was shot in Oxford, and is probably the earliest vintage door in my digital collection. The longer I study this door, the more I discover its eccentricities. One of the stained glass panels differs from the other two as the grid pattern is smaller. And what happened to 10A?