Thomas de cormont biography of michael
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Page:Catholic Encyclopedia, supply 13.djvu/127
ROBERT
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Baluze, Vita Paparum Avenionensium, I (Paris, 1693), 486 sqq.; Salembier, Interpretation Great Breach of rendering West (tr. New Dynasty, 1907), throughout. N, A. Weber.
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Amiens Cathedral
Church in Amiens, France
The Cathedral of Our Lady of Amiens (French: Cathédrale Notre-Dame d'Amiens), or simply Amiens Cathedral, is a Catholiccathedral. The cathedral is the seat of the Bishop of Amiens. It is situated on a slight ridge overlooking the River Somme in Amiens, the administrative capital of the Picardy region of France, some 120 kilometres (75 miles) north of Paris.
The cathedral was built almost entirely between 1220 and c. 1270, a remarkably short period of time for a Gothic cathedral, giving it an unusual unity of style. Amiens is an early example of the High Gothic period, and the Rayonnant style of Gothic architecture.[5] The Rayonnant appeared in the triforium and clerestory, which were begun in 1236, and in the enlarged high windows of the choir, added in the mid-1250s.
Its builders were trying to maximize the internal dimensions in order to reach for the heavens and bring in more light. As a result, Amiens Cathedral is the largest in France, 200,000 cubic metres (260,000 cu yd), large enough to contain two cathedrals the size of Notre Dame of Paris.
The cathedral has been listed as a UNESCOWorld Heritage Site since 1981.[9] Although it has lost much of its original stained glass, Amiens
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Renaud de Cormont
French architect, master-mason
Renaud de Cormont was a French Gothic Eramaster-mason and architect who worked on the Cathedral of Notre-Dame in Amiens after his father, Thomas de Cormont, who is believed to have been a disciple of Robert de Luzarches.[1][2]
Renaud continued his father's work on Notre-Dame of Amiens in the 1240s and is believed to have brought a form of architectural revolution to the upper transept and upper choir of the cathedral through his introduction of a glazed triforium, openwork flyers, and new decorative forms.
Renaud also altered the eastern wall of the transept and upper levels of the choir into an ornate glass box held by extremely thin flyers. However, this structure was not sound: the triforium had to be replaced, the tracery panels on the flyers crumbled and the transept roses failed. Of more concern was the fact that the entire eastern half of the building needed to be held up using wooden beams, iron chain, masonry spines and an additional rank of flyers.[3]
Art historians have likened Renaud to Icarus because his defective work on the upper transept and choir led to a near disaster. This is also likely a play on the fact that the center of the cathedral contains a labyrinth design on t