The same general character, though in less florid development, marks those parts of Fontainebleau which are contemporaneous with Blois and Chambord. This is true also of Écouen, where the architectural scheme is comparatively simple. Instead of superimposed orders the walls of Écouen are adorned with continuous pilasters banded by the mouldings of entablatures that crown each of the stories. These details are in very shallow relief, the wall spaces enclosed by them are not panelled as at Blois and Chambord, and the windows have no framing members. Even the dormers have a marked sobriety of design, though they are framed with small orders, and crowned with fantastic pediments made up of classic elements and filigree ornaments. The architect Bullant, who appears to have had a large part in the design of Écouen, was among the first French architects of the Renaissance to travel in Italy. In Rome, as he tells us in his book,[119] he had measured some of the ancient monuments, and in the great portico of the court he reproduced the order of a Roman temple.[120] This portico embraces both stories of the building, and is, I believe, the earliest example in France of the reproduction of an ancient order without any admixture of mediæval details, or Italian corruptions. In the main body of the building it was natural that the architect should modify and adjust his neo-classic details in the prevailing manner of his time; but this colossal portico gave him an opportunity to carry out fully the classic Roman ideas which he appears to have imbibed during his Roman sojourn. It was impossible, however, to make any organic connection between this ancient scheme and the building to which it is attached, and it stands against the façade as an utterly foreign interpolation. An exceptional building of the early French Renaissance is the château of St. Germain en Laye. The top story of this building is vaulted, and to meet the vault thrusts a series of deep buttresses is ranged along each façade. These buttresses are connected by arches at the level of the floor of the principal story[121] and beneath the main cornice, and entablatures, which crown the basement and the principal floor, break around them. They are adorned with pilaster-strips of Romanesque proportions, connected by small blind arches, capped by ressauts of the main cornice, and pierced with water-ducts ending in gargoyles. The arched windows are in pairs (one pair in each story between each pair of buttresses), and are framed with pilaster-strips and entablatures surmounted with pediments. The balconies formed by the ledges over the lower arches are enclosed with balustrades, and balustrades connect the buttresses over the main cornice. The roof is very low and invisible, thus there are no dormers, but large chimneys ornamented with blind arcading break the sky line.