Rideau, and of similar character, are Chenonceaux and La Rochefoucauld. Of Chenonceaux the portal (Fig. 114) is worthy of notice as an instance of a different manifestation of the survival of Flamboyant ideas in the treatment of neoclassic details. In this portal we have again the three-centred form of arch, with a keystone and continuous imposts.[1] The jambs and archivolt are in three planes, or orders, of shallow projection, with simple mouldings of semi-Flamboyant effect. No entablature surmounts this portal, but a corbelled cornice supporting a heavy balcony passes over the arch. This balcony has a curved ressaut at each end carried on a massive corbel in graduated rings of overhanging masonry, with a compound support beneath consisting of a stout pilaster and two small shafts. The Flamboyant idea running through this nondescript scheme is shown in the depressed form of the arch, and by the simulated interpenetrations at the imposts of the pilasters.
In La Rochefoucauld we have an instance of a mediæval fortified castle transformed into a palatial residence. The most noticeable features here are the superimposed arcades of the court. In these arcades we have orders of pilasters used in the Roman way to frame in the arches, but these arches have the Flamboyant three-centred form. In the top story the number of arches is doubled, and the entablature over them is crowned with an ornamental parapet and finials. The vertical lines of the superimposed pilasters, made continuous by ressauts in the entablatures and carried up through the parapet by the finials, give a semi-Gothic expression to the ancient Roman scheme.
In those parts of the vast châteaux of Blois and Chambord that were built in the time of Francis I a richer phase of this early French Renaissance architecture is found. The eastern wing of Blois, which had been begun by Louis XII, illustrates this. On the side facing the court the walls are panelled, not as they sometimes were in the earlier buildings, as at La Rochefoucauld, by interpenetrating mouldings of Flamboyant profiling, but by three superimposed orders of pilasters, in which a continuity of upright lines is given by shallow ressauts in the entablatures (Fig. 115). The pilasters are here irregularly spaced
