Kolsrud was an historical adviser on the church's restoration, and prepared an iconography for the sculptures. His proposal to place statues on the "royal floor" – although without evidence of historical precedent – was approved in 1935. It was assumed that the medieval sculptures were based on living models, and to a large extent, this concept is applied to the new sculptures. Thus the sculpture of Bishop Sigurd borrowed features from the poet Aasmund Olavsson Vinje, and Kristofer Leirdal's statue of the Archangel Michael on the top of the northwest tower was based, according to the sculptor, on the face of Bob Dylan – inspired by Dylan's opposition to the Vietnam War. Above the row of kings, on top of each column that separates the niches containing sculptures of kings and prophets of the Old Testament, there are smaller sculptures that symbolize the twelve months in a year. These small sculptures, Gothic in style, were modeled by Odd Hilt in 1937–1938 and represent different tasks appropriate to the corresponding month of the year. Only one of them, the September sculpture representing the apple harvest, is female. Similar figures appropriate to the months can be found in several major European cathedrals dating from the Middle Ages, especially those in France. The central axis of the west front is dominated by Jesus Christ, to whom the Nidaros Cathedral is dedicated. Christ comprises the stem of a tree, and the rows of sculptures represent branches of the tree. At the bottom of the middle axis lies a sculpted group of motifs from the crucifixion - the crucified Christ is based on a model by Wilhelm Rasmussen. Above the rose window is a relief with the same theme as the window's subject – doomsday – with Christ sitting in judgment; the relief was designed by Stinius Fredriksen. At the top of the west gable is a relief with Christ triumphant - the transfigured Christ, designed by Kristofer Leirdalen. Danbolt discusses these sculptures in his works about Nidarosdomen, noting that: The crucifixion represents the possibility of salvation. In the doomsday sequence it is clear how this possibility is developed. And Christ triumphant draws our attention upward to the sky, which again represents realizing the possibility of salvation. This illustrates the second article of the Christian declaration of faith, "Christ has risen." The sculptures spread from the center span toward each side. The top row contains