Attic pottery of the 7th century exercised great influence upon its Boeotian and Eretrian neighbours, where an independent artistic spirit never existed. One might describe these dependent manufactories as provincial branches of the Attic, had they not been influenced by other models as well. The big Boeotian amphorae with tall broad neck, the decoration of which consists chiefly of a pictorial frieze at the level of the handles, divided vertically, are imitated from vases of the islands (p. 25). The best known instance, from Thebes, shows on one side the Oriental goddess flanked by lions, on the other a flying bird and spiral ornamentation. This metope decoration with flying birds and Orientalizing volutes and palmettes called forth a special Boeotian class, which some conservative workshops went on producing with great tenacity to the end of the 6th century. It excels in tall-stemmed kylikes with white slip and colour accessories in red and yellow. Other workshops, like those of Pyros and Mnasalkes, imitated the Protocorinthian and Corinthian wares, quantities of which were imported; in the 6th century one enters an Attic sphere of influence. Similarly Attic and island influences are found side by side at the neighbouring Eretria in Euboea. The Cycladic manufactory, to which the Boeotian and Eretrian imitations point, cannot yet be followed beyond the early Orientalizing stage. On the amphorae with white slip already described, to which class belongs the Stockholm vase with the roebuck (Fig. 50), and on the closely allied griffin jug from Aegina (Fig. 51), severely stylized flowers and tendrils enter the not very rich Geometric ornament, the new cable meets the old meander in the same frieze, rows of triangles are enclosed by spirals; in the metopes of the shoulder stripe appear, surrounded by scanty filling ornaments, simple animal representations, [Illustration: PLATE XXV. Fig. 51. CYCLADIC JUG WITH GRIFFIN’S HEAD FROM ÆGINA.] generally birds, also feeding animals, heraldic or fighting lions, pairs of panthers in heraldic scheme, in the characteristic partial silhouette, which renders the head and parts of the body in outline, but the skins with black or white spots according to the technique. The Ram jug from Aegina (Fig. 28), the exact attribution of which is uncertain, is at any rate closely allied.