In 1341, the chevet and the four eastern bays of the church were elevated to their highest point. At the springing of the vault rib intersections in the side chapels figure elegantly sculpted tailpieces. The keystones are adorned with sculpted bosses depicting characters that seem to be by the same hand as the cycle in the Rieux Chapel. The church also received painted decorations that are said to bear a resemblance to certain paintings from the north of Spain in the first half of the 14th Century and to miniatures produced in the royal milieu at the time of Philippe Le Bel. The existing vault and the capital friezes on the vault springs date from the end of the 15th Century after the great fire of 1463. The vaulting was most certainly planned at the start of construction but was not carried out at that stage. The architectural unity of the chevet and the six bays shows that the original plan retained by Jean de Lobres, following the same principle as the Jacobins church, was quite rigorously adhered to. Only the elevation of the two western bays was changed after the fire when the definitive vaults were completed. In 1341, the campanile tower was also nearly completed. As in the Jacobins church, it was designed prior to construction near the choir. The discrete decorative elements on the lower levels are identical to those on the whole of the western side of the church. Access was via the opening which is today the sacristy, to the left of the Notre-Dame de Pitié chapel.