There was demonstrable continuity in the south, even though the Danish settlement represented a watershed in England's artistic tradition. Wars and pillaging removed or destroyed much Anglo-Saxon art, while the settlement introduced new Scandinavian craftsmen and patrons. The result was to accentuate the pre-existing distinction between the art of the north and that of the south. In the 10th and 11th centuries, the Viking dominated areas were characterised by stone sculpture in which the Anglo-Saxon tradition of cross shafts took on new forms, and a distinctive Anglo-Scandinavian monument, the 'hogback' tomb, was produced. The decorative motifs used on these northern carvings (as on items of personal adornment or everyday use) echo Scandinavian styles. The Wessexan hegemony and the monastic reform movement appear to have been the catalysts for the rebirth of art in southern England from the end of the 9th century. Here artists responded primarily to continental art; foliage supplanting interlace as the preferred decorative motif. Key early works are the Alfred Jewel, which has fleshy leaves engraved on the back plate; and the stole and maniples of Bishop Frithestan of Winchester, which are ornamented with acanthus leaves, alongside figures that bear the stamp of Byzantine art. The surviving evidence points to Winchester and Canterbury as the leading centres of manuscript art in the second half of the 10th century: they developed colourful paintings with lavish foliate borders, and coloured line drawings.