Multiple regional styles developed based on the chance availability of Carolingian manuscripts (as models to draw from), and the availability of itinerant artists. The monastery of Saint Bertin became an important centre under its abbot Odbert (986–1007) who created a new style based on Anglo-Saxon and Carolingian forms. The nearby abbey of Saint Vaast created a number of works. In southwestern France at the monastery of Saint Martial in Limoges a number of manuscripts were produced around year 1000, as were produced in Albi, Figeac and Saint-Sever-de-Rustan in Gascony. In Paris there developed a style at the abbey of Saint Germain-des-Prés. In Normandy a new style developed from 975 onward. The first form of Pre-Romanesque in Spain and Portugal was the Visigothic art, that brought the horse-shoe arches to the latter Moorish architecture and developed jewellery. After the Moorish occupation, Pre-Romanesque art was first reduced to the Kingdom of Asturias, the only Christian realm in the area at the time which reached high levels of artistic depuration. (See "Asturian art"). The Christians who lived in Moorish territory, the Mozarabs, created their own architectural and illumination style, Mozarabic art. The best preserved Visigothic monument in Portugal is the Saint Frutuoso Chapel in Braga. Southern Italy benefited from the presence and cross-fertilization of the Byzantines, the Arabs, and the Normans, while the north was mostly controlled first by the Carolingians. The Normans in Sicily chose to commission Byzantine workshops to decorate their churches such as Monreale and Cefalù Cathedrals where full iconographic programmes of mosaics have survived. Important frescos and illuminated manuscripts were produced.