When these invasions had almost come to an end in Europe, the very disasters they had caused assisted to some extent the progress both of architecture and sculpture. In the first place there sprang up a complete order of new buildings, originated by the need that arose for fresh edifices for the purpose of public worship; the Church, having a thousand disasters to repair, built or restored a number of monasteries which assumed a decided character of individuality. The cathedrals of Auxerre, Clermont, Toul, the Church of St. Paul at Verdun, the abbeys of Montier-en-Der and of Gorze, of Munster, Cluny, Celles-sur-Cher, &c., were specially adorned with the sculptural characteristics of this epoch. Crucifixes in high relief were multiplied, the introduction of which into monumental sculpture did not take place before the pontificate of Leo III. In the arched recesses over doorways representations of the good and the bad were placed opposite to one another; the worship of the Virgin was celebrated in all kinds of artistic productions; and, in short, sculpture was displayed everywhere with an extraordinary amount of richness. Nothing escaped, so to speak, its luxurious growth: _ambons_,[47] seats, arches, baptismal fonts, columns, cornices, bell-turrets, and gargoyles--everything, in short, testified that sculpture and stone were now in full harmony. Almost all the figures were then represented as clothed in the Roman style, with a short tunic, and the chlamys clasped upon the shoulder; this still continued to be the court-costume, and consequently the only one suitable to the representation of the exalted followers of Christianity. [Illustration: Fig. 277.--Bas-relief in the Abbey-Church of St. Denis; a reproduction of the ancient Statue of Dagobert I., destroyed in the Ninth Century.]