1. Amboise, town2. Château Gaillard, Amboise3. Tours, town4. Royal Château of Amboise5. Royal Château of Blois67. Château de Nitray, Athée-sur-Cher8. Château d’Azay-le-Rideau9. Château de Chambord10. St. Anne's Collegiate Church, château, Ussé11. St. John the Baptist Collegiate Church, Montrésor12. Jehan de Seigné Chapel, Bléré13. Town hall, Beaugency14. Château de Villesavin, Tour-en-Sologne15. Château de l’Islette, Cheillé – Azay-le-Rideau16. Loches, town17. Château de Villandry18. Château de La Côte, Reugny19. Sainte-Chapelle, Champigny-sur-Veude20. Royal Abbey of Fontevraud, the Grand Moûtier and the Chapter House21. Le Rivau, stables of the château, Lémeré
Built "on the water", this extraordinary château has been jealously coveted by many throughout its history. Its medieval ancestor, a mill originally, stood on the banks of the Cher, a tributary of the Loire. After many years of legal proceedings it was acquired by Thomas Bohier and his wife Catherine Briçonnet. The new owner, from a merchant family in Issoire, experienced an astounding accession to the titles of Baron, Général des Finances de Normandie (person in charge of Normandy's finances) and French ambassador in Rome.
Renovation work was initiated, supervised by Catherine Briçonnet, who also came from a large family. The existing building was demolished with the exception of the "Marques Tower". A new building was built between 1515 and 1522 on the piers of the mill in the riverbed of the Cher. It has a regular, square layout flanked by watchtowers, with polygonal annexes for the chapel and library. Its high roof is pierced by conical turrets and rows of dormers and chimneys. The symmetry of the façades, horizontal mouldings and pilaster framing reflect the use of Italian models. In the interior, the search for order is embodied in the central corridor. The internal straight flight staircase is covered with a coffered vault, but the use of a spiral instead of landings links it to the medieval tradition. Even the Marques Tower received Italian-inspired framing.
In 1527, as part of an investigation into the finances of Jacques de Beaune-Semblançay, a relative, Bohier - who died in 1524 in Italy - was nevertheless accused of embezzlement. His heirs were forced to sell the estate to the Crown to pay their father's debts. Construction work on the wing over the Cher continued, supervised by Diane de Poitiers and later by Catherine de' Medici. Philibert De l'Orme's design was carried out between 1556 and 1576. The two women continued to expand the terraced gardens. The château experienced a great period of splendour.
Chenonceau, under construction in the year of Francis I's accession to the throne, probably reflects Thomas Bohier's personal preference for the Italian Renaissance style. In the service of two successive kings, Bohier had many opportunities to visit Italy during military campaigns or as a diplomat. He was not just a builder, but also a patron and sponsor of artwork. He was among the first in the kings' entourage to try to integrate ideas encountered in his travels.
Chenonceau challenged the traditional relationship between château and nature. Water no longer served to protect, but rather increased the aesthetics of the site and gave the building a remarkable lightness, seeming to float on the surface. On the right bank of the Cher a large flowerbed and fountain, and later several terraces and a maze featuring caryatids were added. The gardens designed as an extension of the château came close to the ideal of Italian villas. They were also an expression of the power of their owner.