is placed over the rose window, just below the triangular gable of the transept roof. The embrasures of the doorway ae also filled with delicate sculptural medallions. South transept The front of the south transept and the portal of La Calende are even more packed with sculpture and decoration. The scenes in the tympanum over the portal illustrate the life of Christ, while the contreforts on either side of the portals contain niches filled with angels and prophets The quadrille medallions around of the portal illustrate the Book of Genesis and are filled with an array of fantastic animals. Scenes of the Last Judgement fill the space over the tympanum. At the very top, over the rose window, is another gable filled with sculpture of the crowning of the Virgin Mary. Chevet The dominant feature of the Chevet, or east end of the Cathedral beyond the choir, is the chapel dedicated to the Virgin Mary, which extends well east of the choir and apse. It has very high buttresses, topped by pinnacles containing statues, and high lancet windows topped by gables, which are topped with statues. Above all these is the 'Golden Virgin", a gilded statue of The Virgin Mary made by Nicolas Quesnel in 1541. Smaller chapels, accessed by the disambulatory, are fit between the buttresses north and south of the Virgin Mary Chapel. In addition, the Sacristy and the Revestiaire are attached to the south side of chevet. Interior Plan Nave and collateral aisles The nave is the portion of the cathedral where the churchgoers are seated, extending from the west front to the transept and choir. It is covered with four-part rib vaults, supported by colonettes with reach down the walls to the massive pillars on the ground floor. The first four traverses of the nave, on the west, completed by 1200, followed the original elevation plan of the late 13th century; an arcade of pillars on the ground floor, which opened into the collateral aisles; above that a tribune, or wide passageway; above that the triforium, a narrow passageway; and above that the clerestory, the high windows which reached up into the arches of the vaults. All these levels provided the necessary width to support the upper walls. After the fire of 1200, the master builder Jean d'Andeli began to revise the plans, following the design used in High Gothic cathedrals, which had only three levels.