In every direction priestly sway made itself felt, even the imperial court being largely under the influence of Gembō, Dōkyō, and their following. A notable factor in the development of material prosperity at that epoch was the extraordinary ability of the priests. Many of them made voyages to China to study the arts and sciences of that empire, and on their return traveled up and down the land, opening regions hitherto left barren, building temples, repairing and extending roads, bridging rivers, establishing ferries, digging ponds, canals, and wells, and encouraging navigation, thus contributing as much to the material civilization of the country as to the moral improvement of the people. It may be truly said that the spread of Buddhism was synchronous with the rise of art and science. Carpenters, from the practice acquired in building temples, learned how to construct large edifices; sculptors and metallurgists became skillful by casting and graving idols of gold and bronze; painting, decorative weaving, the ornamentation of utensils, and the illumination of missals, owe their expert pursuit to the patronage of Buddhism; the first real impetus given to the potter's art is associated with the name of a priest; in short, almost every branch of industrial and artistic development owes something to the influence of the creed. In a storehouse forming part of the Tōtai-ji, and in the temple of Hōriū, both at Nara, there are preserved a number of household utensils, objects of apparel, musical instruments, and so forth, handed down from the Nara epoch, every one of which bears witness to a refined and artistic civilization, not surpassed by succeeding generations. Among glyptic artists there have been handed down from these days the names of men famous for their skill in sculpturing images, two of whom were called "Kasuga" after the place where they lived, and were held in the highest honor. It is true that architecture, sculpture, dyeing, and weaving, introduced originally from China and Korea, had long been practiced with considerable success, but during the Nara epoch these arts were in the hands of men celebrated then and subsequently for their proficiency. The same may be said also of the arts of the lacquerer and the sword-smith, which at that time were carried far beyond ancient standards of achievement. It is further worthy of note that the methods of manufacturing glass and soap were known in the eighth century. Nara and its temples, remaining outside the range of battles and the reach of conflagrations, have escaped the destructions that periodically overtook other imperial capitals, so that those who visit the place to-day can see objects of fine and useful arts more than a thousand years old.