The Benedictine priory of Notre-Dame de la Daurade, of the Cluny order, was destroyed in the 18th and 19th centuries to make way for the construction of the existing neo-classical building and the école des Beaux-arts. The sculptures from the priory represent about half the collection. They are divided into four sections making it easy to identify the styles of the three different workshops. The first and the second workshops worked on the capitals of the cloister (the second arriving a generation later), and a third workshop completed the sculptures of the portal of the chapter house. The fourth group assembles a stylistically and iconographically mixed collection and whose location within the cloister ensemble is unknown. These campaigns spanned a period of about three quarters of a century. Hence, the Daurade sculptures alone offer a complete panorama of the various stages in the evolution of the styles and iconography peculiar to romanesque sculpture. The iconographical programmes actually provide evidence of the historical and spiritual context in which these sculptures were created, letting through the power of the counts of Toulouse and the stamp of the Cluny order which was extending over western Christendom.