The interior façade of the same building (Fig. 126) presents a different scheme. The great order here has fluted pilasters, and the division of the building into two stories is not expressed on the outside. Viollet le Duc remarks on this façade as follows: “The architect wished here not only to accent the great order more clearly, but also to hide entirely the floor of the upper story;[143] and in adopting this scheme, contrary to the logical principles of the architects of the Middle Ages, he has carried it out with remarkable skill. The line of the floor, naturally placed at the level _A_, is cut by arched niches, so that the eye does not suspect its existence, and is forced to embrace the whole front as if it were one stage.” And he adds: “C’était là l’œuvre d’un artiste consommé.”[144] Thus in one case the architect is lauded for employing the order like a buttress system to justify its embracing two stories, while in the other he is praised for giving a deceptive appearance of only one story; so that this part of the design may, as the writer says in another place, be in better scale with the order. But the distinguished author betrays embarrassment in dealing further with these architectural incongruities of Renaissance design, and after remarking that the architects of this time have resorted to various devices for overcoming the difficulties arising from the lack of harmony between design and construction (“entre la mode d’architecture et les convenances”), which, he says, have occasioned them much torment, he exclaims (p. 376): “Voilà cependant où conduit l’oubli des principes vrais.” It is indeed far into devious paths that the architect is led by departure from the true principles of design.