By the early 11th century, these two traditions had fused and had spread to other centres. Although manuscripts dominate the corpus, sufficient architectural sculpture, ivory carving and metalwork survives to show that the same styles were current in secular art and became widespread in the south at parochial level. The wealth of England in the later tenth and eleventh century is clearly reflected in the lavish use of gold in manuscript art as well as for vessels, textiles and statues (now known only from descriptions). Widely admired, southern English art was highly influential in Normandy, France and Flanders from c. 1000. Indeed, keen to possess it or recover its materials, the Normans appropriated it in large quantities in the wake of the Conquest. The Bayeux Tapestry, probably designed by a Canterbury artist for Bishop Odo of Bayeux, is arguably the apex of Anglo-Saxon art. Surveying nearly 600 years of continuous change, three common strands stand out: lavish colour and rich materials; an interplay between abstract ornament and representational subject matter; and a fusion of art styles reflecting English links to other parts of Europe.