seen in Saint Quiriace at Provins (cir. 1160) (Fig. 31) and in La Madeleine at Vézelay (cir. 1140-1180) (Fig. 66). The latter is of especial interest because it shows some peculiar makeshifts in the matter of construction. Here the choir would seem to have been originally designed to consist of two rectangular bays with four-part vaults and an apse of five sides probably with a chevet like that at Saint Germer.[369] But by the time the western bay of the choir had been built up to the clerestory, it would seem as if a new idea of a seven-part chevet had come in, perhaps from Paris, and the next bay was subdivided so as to give seven equal sides to the new vault. Then to make all the bays of the same scale, the west bay was also subdivided, but this necessarily at the clerestory level, and covered with a six-part vault. This left nine bays for the chevet and as only seven were to be actually included beneath the radiants, a narrow rectangular four-part vault was used over that toward the choir. There now remained an apse in all respects like those of Saint Martin-des-Champs and of Saint Germain-des-Pres and it was similarly vaulted with a broken-ribbed vault whose keystone does not lie quite upon the transverse line between the first two piers of the apse proper. The chevet built upon these radiants differs, however, from those in Paris and at Saint Germer in having a decidedly domed up character. In other words, the windows do not rise more than half the distance from the impost of the radiants to their keystone.[370] BUTTRESSING-RIBBED CHEVETS