This was the explicit intention of his revision to the rules of the classical orders. His theory recognized no different between the retinal image and embodied experience. In 1683 Perrault presented his own body of theory in the guise of a conventionally structured treatise on the Orders (Mallgrave, 2006). Both in his commentary on Vitruvius and in his Ordonnance Perrault undermine Vitruviuss aesthetic architectural principles and those of his successors. His most important point of attack is the concept of proportion.
Antiquity, he maintains, has its own rules and proportions, which depend on the type of construction in question. For Perrault, proportions are not a law of Nature as they were in previous architectural theory, and so were not to be perceived as normative, but as determined by custom and tradition. Perrault does indeed remove the normative aesthetic basis of the theory of proportion, but at the same time he sanctions contemporary practice by laying down limits of convenance.
In his Ordonance he suggests simple rules with average whole number values for the individual Orders, which ensure a certain amount of room for maneuver for the architect. Perrault urges modern architect to adopt the coupled arrangement and renounce ideas of fixed, true proportions, comparable to musical sounds. Since their appearance, paired supports have been liked by tout le monde, including numerous modern architects.