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O'RORKE

Austria, Regent of the Netherlands, and two years afterwards entertained Diirer in his house for some time, during which Diiicr painted Orley's portrait, now in the Dresden Museum. In 1530, Margaret of Austria having died, ( Irlcy received the official ap- pointment from liir successor, Mary of Hungary. Or- ley was a Catlinlic, Inil assisted at various Lutheran meetings held in his f:ithci'shU.se. He and his brother were arrested, with several other iKiiiiins, .■md sen- tenced to pay fines, and to do pul)lir |icii;(iiic in the church of St. Gudule (Bru.ssels). Tin- ai(isl had seven chilih-en hv his first wife, .\gncs Seghcres, and two by his scond'wife, Catlicrinc llellincx.

He ])ainted in oil anil in tempera, and made a great many designs for glass windows. Some of the finest windows in St. Gudule's are from his drawings. He was an engraver and an able craftsman. With Mich- ael Cocxie he superintended the manufacture of the tapestries for the Vatican designed from Raphael's cartoons for Leo X. Three pieces of tapestry from his own drawings are at Hampton Court, the Louvre, and the Castrta Palace at Naples. Many of his pictures derive their extreme brilliance from being painted on a grovrnd of gold-leaf. A tradition that he visited Eng- land lacks definite proof. The eight portraits of the first Regent of the Netherlands, and four of the sec- ond, he is said to have painted, have not yet been found. His works occasionally bear the family motto "Elx sijne tijt" (Every man his day).

Fetis, Musee Royal de Bdgique (Brussels, 1865) ; and see the writings of van Mander, Michiels, Siret. and Ophemert.

George Charles Williamson.

Orme, Philibert de l', architect, b. about 1512; d. 1570. His style, classical and of the more severe Italian type, later developed characteristics show- ing greater personal independence. He has also importance as an author on subjects in his par- ticular line, and is our chief source of information on his own works and the events of his life, although his writings are not devoid of exaggerations. While still a youth he went to Rome; he would probably have remained there in the service of Paul III, had not Cardinal du Bellay and others urged him to go to France. Soon after his return to his native city of Lyons (1536) he gave evidence of his originality as an artist in the invention of the trompe vaulting, so popular with the French, i. e. arches with double curves supporting weight imposed on them from the side and in the artistic stone carving, which gives them their charm. He was obliged to leave the ixii'tal of St. Nizier at Lyons incomplete in order to build the chateau of St. Maur-les-FossiJs at Paris for Bellay, which he later had to enlarge. According to his own statements, he introduced in this important innovations, e. g. in the construction of colunms. In 1538 he prevented the occupation of Brest by the English. Francis I now deputed him to make a semi- annual inspection of the fortifications on the coast of Brittany, and review and provide for the vessels stationed there, and appointed him commandant of fortifications. In 1547 Orme began work on the king's tomb. Under Henry II he was promoted imtil he finally became supervisor of all royal buildings. In this capacity he directed the work on the chateaux of Fontainebleau, St-Germain-en-Laye, Madrid etc., and had at the same time to investigate the character of the servnce which had been rendered Francis I in connexion with these undertakings.

While in his fifties he built the chMeau of Anet and Meudon. The former, in which he was allowed complete liberty, is of special importance for the study of his style; the disposition of the columns shows the pure classic style. An unfortunate arrangement of some water-piping in the second building, in itself a very important piece of work, brought on him the mockery of his jealous rivals. Although he was a lay- XI.— 21

man, the king and queen granted him various abbeys, the revenues from which made him a wealthy man. He experienced for a time the disfavour of the court, and in 1559 was superseded by Primaticcio as super- visor of royal buildings. In 1564 he was commissioned by the regent to build the Tuileries. According to his plan, of which he himself gives a detailed description and appreciation, the whole was to be in the form of a quadrangle, with four corner pavilions, enclosing a large central court and four smaller courts, an entrance being provided on each of the two longer sides of the rectangle. Only the garden fagade was completed. The central pavilion with the cupola is especially beautiful. In this the master took liberties which, despite his admiration for the classic, he proclaimed as theoretical. He wi'ote that he had never found columns or ornamentation exhibiting like proportions or even .similar arrangement of columns, and that the limitations of the architect came less from the pre- scribed measurements than from the stipulations made with regard to the building. This accounts for the "French column", among other things in the Tuileries, with its Ionic capital, but consisting of many fluted drums, separated by ornamental bands. Above all, Orme's works are not devoid of curious attempts at originality. In the last years he wished to work out his compositions according to "Biblical laws and sacred numbers".

As an author, Orme would have taken his place be- side Vitruvius and Alberti had he completed his work on "Architecture". In two of the nine books of the first volume he deals in a masterly manner with stone- carving and the construction of the vault. A new edition of his work was issued by C. Nizet in 1894. Another work he entitled "Nouvelles inventions pour bien batir et S. petits frais", as he describes in this his device for constructing roofs of great span by bolting together planks (instead of using single heavy beams). This was republished at Rouen in 1648 with his "Architecture". Of interest in itself, and also as illustrating his activity, is a memoir in which he defends himself against the attacks of his adversaries. This was incorporated by Berty in the "Grands architectes frangais de la Renaissance" (Paris, 1860).

Palustre, La Renaissance en France (Paris, 1879) ; VON Get- MtJLLER, Die Baukunst der Renaissance in Frankreick (Stuttgart, 1896 and 1901); Destailleur, Notices sur quelques artistes Jran- tais (Paris, 1863).

G. GlETMANN.

Ormuzd and Ahriman. See Ahriman.

Oroomiah. See Urumiah, Diocese of.

Oropus, titular see, suffragan of Anazarbus in Cilicia Secunda. It never really depended on Anazar- bus but on Seleucia in Isauria, as is evident from the Greek text of the " Notitiae Episcopatuum " of Antioch in the sixth and tenth centuries ("Echos d'Orient", 1907, X, 95, 145), where the city figures as Oropa or Oroba, and from the Latin translation where it is called Oropus ("Itinera Hierosolymitana", Geneva, 1880. I, 334). Oropus is no other (liaii Olba, suffra- gan of Seleucia, annexed witii tlie l'ro\in<'e of Isauria to the Patriarchate of Con.sluntincjple in the eighth century, and is mentioned in the "Notitia;" of Leo the Wise and of Constantine Porphyrogenitus. (See Olba.)

S. Vailh6.

O'Rorke, Patrick Henry, soldier, b. in County Cavan, Ireland, 25 March, 1837; killed at the battle of Getty.sburg, Penn., U. S. A., July, 1863. He was a year old when his parents emigrated to the United States. They settled in Rochester, N. Y., where he attended the public schools, and in 1853 went to work as a marble-cutter. Shortly after he was appointed a cadet in the U. S. Military Academy at West Point, graduating with highest honours in June, 1861. Commissioned as a lieutenant in the regular army, he