[372] Examples include: Bologna, San Francesco; Auxerre Cath. (planned for six-part type of vaults), etc. [373] Other examples not mentioned include Albi (Tarn) cath.; Troyes (Aube) cath.; Semur-en-Auxois (Côte-d’or), Notre Dame. [374] It is possible that it owes this arrangement to the church of Saint Remi (Fig. 64). [375] Although not originally planned for four-part vaults in the choir, its present arrangement illustrates the combination referred to. [376] This is not a noticeable fault with sexpartite choir vaulting since the crowns of all the window cells form similar angles. [377] Porter, II, p. 83, Fig. 176. [378] In referring to chevet vaults, the terms three-celled, four-celled, etc., refer to the number of window panels or severies, while the terms four-part, five-part, etc., refer to the total number of severies in the vault, generally one more than the number of window cells. [379] See also the five-part chevet in the cathedral of Saint Louis at Blois (Loire-et-Cher) which is, however, of much later date. [380] This may explain the fact that the buttressing rib type of chevet persisted side by side with this fourth form. [381] In St. Étienne this rib would seem to be an addition to the original chevet. [382] Street, pl. XXV. op. p. 408. [383] Bond, p. 63. [384] This church has a rather exceptional chevet in that it is considerably more than a semicircle in plan. [385] Plan in Street, pl. XVI, opp. p. 306. [386] The double apse of the Chapel of the Seminaire at Bayeux (thirteenth century) (Baudot and Perrault-Dabot, II, pl. 44) has two chevets of similar character. [387] Plan in Caumont, p. 590. [388] See the illustration in Bond, p. 165. [389] See also Pirna, Hauptkirche (1502-1546), Hartung, I, pl. 57. [390] See also Le Mans, Notre Dame-de-la-Couture: Padua, Sant’ Antonio. [391] And sometimes in churches where this arrangement is not found. [392] See also Neubourg (Eure). Plan in Enlart, I, Fig. 317. [393] Baudot and Perrault-Dabot, I, pl. 46. [394] See Fig. 31. [395] The vault has been recently reconstructed along original lines. [396] A feature which certainly enhances the present appearance of the cathedral, though it is quite possible that the builders originally intended to shut off this vista by a high reredos behind the altar. [397] Compare for example the chevet of Reims with that of Saint Urbain. [398] Needless to say, no flying-buttresses are necessary with such a vault as the thrusts are easily absorbed by the piers. [399] Similar openings are to be seen in the apse of Saint Nazaire at Carcassonne. [400] For other examples showing the employment of this feature even in the Renaissance see Enlart, I, p. 506, note 2. [401] Hartung, I, pl. 15. [402] For a discussion of this point see E. Gall’s series of articles on the ambulatory in Monatschefte fur Kunstwissenschaft, beginning with the fifth volume, 1912, pp. 134-149.