What we know of other important works by De l’Orme, as the châteaux of Anet and Saint Maur, shows the same lack of a fine artistic sense. The lay-out of these vast pleasure-houses may be well adapted to the requirements of the courtly life of the time. De l’Orme understood the needs of this life, and was ingenious in providing for them, but such ingenuity constitutes but a small part of an architect’s equipment, and may exist without any artistic aptitude. It is only in so far as such ingenuity is accompanied by a genuine artistic sense that a fine work of art can be produced. De l’Orme undoubtedly worked with a steady regard for what he considered artistic design, but his works show, I think, that he was devoid of true artistic genius. If further illustration of this be desired, it may be abundantly found in the numerous architectural projects published in his book, of which the doorway (Fig. 124) is a fair example.[140] Of this composition the author remarks as follows: “I give you here following another form of doorway being square and straight in its covering, and having pilasters at the sides, in which one sees only the plinths of their bases under the said pilasters, which are larger at the top than at the bottom; which is the contrary of the columns and pilasters made according to measure [_i.e._ according to neo-classic proportions?] which are narrower at the top than at the bottom. But such an invention is produced according to the suggestion and fancy that presents itself, like many others; which, provided the proportions are well observed, are always found to have a pleasing effect, which is an easy thing to do by those who have experience and skill in architecture. You see how in this design which I figure, in place of capitals mutules in the form of consoles carry the soffit of a tympanum or frontispiece, which is cut out, as is seen, and has its cornices above and ornaments on acroteria, as may be seen in the figure with all the other ornaments, and pieces cut out which make the covering of the doorway, and above a tablet with another tympanum and other ornaments. To describe all in detail would require too much time, but you can easily understand from the drawing, which is of a Doric doorway having three steps which are well shown, as in the other doorways, when they are raised above the ground.” These remarks, like the drawing itself, show clearly that design with De l’Orme was a matter of purely capricious fancy, regulated only by a mechanical system of proportions. If the rules of proportion be “well observed,” he thinks that such a crazy composition as this, with its foolishly deformed members, may have a “pleasing effect.” [Illustration: FIG. 125.--Façade of Charleval, Du Cerceau.]