As for De l’Orme’s façade for the Tuileries, as an architectural composition, little in the way of praise can, I think, be said. The basement arcade (Fig. 120, p. 202) is but an adaptation of the wearisome Roman scheme of pier and arch overlaid with an order in which the Roman form of column gives place to the peculiar one just described and called his own invention. This deformed column has an Ionic capital, and De l’Orme tells us that he employed the Ionic order here because it had been as yet little used, and “because it is feminine, having been invented after the proportions of women and goddesses,”[137] and is therefore suitable for the palace of a queen. In this façade the monotony of the long range of arches with their orders is partly relieved by a ressaut in the entablature over every fourth bay, and this ressaut only is supported by columns, pilasters of similar character being used in the intervening bays. The attic story reproduces with variations some of the architectural vagaries of Vignola and his followers. Tall, rectangular dormers alternate with oblong panels crowned with broken pediments, and flanked with coupled hermæ. In this composition the native French characteristics of design survive in hardly anything more than the broken outline of the attic, and the steep roof behind it.[138] That such architecture is shaped on mathematical proportions, and has an orderly and rhythmical distribution of parts, does not make it good architecture. Proportion and rhythm of this mechanical kind cannot, as I have before said, make a fine work of art.[139] [Illustration: FIG. 124.--Doorway of De l’Orme.]