Despite its high degree of geometrical and formal order, the Rouen drawing does not have the clear and lucid appearance of Brunelleschi’s San Lorenzo in Florence, designed nearly a century earlier. This distinction has doubtless contributed to the historiographical trend that I discussed earlier, which I described in my title as the myth of Gothic license. As I have tried to briefly show, Gothic design was, in fact, no more wayward than classical design. In technical terms, moreover, guild-trained Gothic builders were at least as competent as most of the goldsmiths, sculptors, and painters who began to get building commissions in the Renaissance, although I recognize Brunelleschi as an exception to that rule. Since Renaissance buildings were neither more orderly nor more robust than Gothic buildings, the diffusion of antique design must have been motivated by other factors. Of these, I see political symbolism as by far the most important. Although the Renaissance manner first emerged in Republican Florence, its spread was tied up more with imperial than with republican ideals. Even in Florence, the Medici were emerging as a quasi-princely family already in the fifteenth century, and their patronage of San Lorenzo expressed their family’s dignity as much or more than the city’s. As Tom Dandelet has noted in his recent book “The Renaissance of Empire,” classicizing buildings became fashionable throughout Europe largely because of their usefulness in princely propaganda.