[134] Assuming that De l’Orme was born in the year 1515. Cf. Berty, _op. cit._, p. 1.
[135] _Op. cit._, bk. 4, p. 26.
[136] Cf. my _Development and Character of Gothic Architecture_, p. 304 _et seq._
[137] _Op. cit._, p. 155. The fanciful notion that the Ionic order was designed after female proportions is derived from Vitruvius, bk. 3.
[138] The roof is not shown in Du Cerceau’s print.
[139] Viollet le Duc, I may say again, appears to me greatly to overestimate De l’Orme’s artistic powers when he says, “Dans les œuvres de Philibert De l’Orme on constate une étude attentive et soigneuse des proportions, des rapports harmonieux qui semblent les plus simples, mais qui cependent sont le résultat d’une connaissance parfaite de son art et des moyens mis à sa disposition,” and when he speaks of the Tuileries as follows: “C’était bien là une architecture de palais grande et noble par ses masses, précieuse par ses détails.” _Entretiens sur l’Architecture_, vol. 1, p. 363.
[140] _Op. cit._, bk. 8, chap. 9. The pages here are not numbered.
[141] It need hardly he said that such variety is very different from that which results from an active inventive spirit, as where in Gothic art some new constructive idea gives rise to change, or where in sculptured ornamentation a teeming fancy finds expression in varied forms.
[142] _Entretiens_, vol. 1, p. 374.
[143] But why should an architect wish to do any such thing? The fact that he did so shows again the factitious and unreasonable character of this Renaissance design.