Mycenaean influence, as might be expected, was slow to die out in Cyprus, and the pottery is no exception. It is seen not only in the patterns, such as the concentric circles—an invention of the Cypriote-Mycenaean pottery, which forms a favourite and almost universal motive at a later date—but in the subjects and technique. The practice of painting figures in outline, not in silhouette, as in the birds and beasts of the Enkomi kraters, the use of dull red and black pigments on an unglazed light-coloured surface, and many other details are an heritage from the Bronze Age, extending over many a succeeding century. With these are combined the influences of the early Attic pottery,[849] in the panels of Geometrical patterns, and the later rosette and conventionalised lotos-flower, which, with the concentric circles, form the stock-in-trade of the “Graeco-Phoenician” potter. The British Museum collection includes one or two remarkable isolated specimens which illustrate this principle. It is for instance instructive to compare the Sphinxes on a krater from Enkomi[850] with those on a large amphora lately acquired from the Karpas,[851] or the oinochoe from General Cesnola’s collection with a chariot-scene (Plate XIII.),[852] with those from Mycenaean sites similarly decorated. On the other hand, the extraordinary large vase from Tamassos,[853] with its crudely and childishly drawn figures, combines a curious admixture of Greek and Oriental motives, and early as it must be, is not Mycenaean in conception or technique. Oriental influence is not, however, altogether wanting in the pottery. The lotos-flowers and rosettes, of which we have already spoken, are derived respectively from Egypt and Assyria, and the conventionalised palm-trees, which also appear, are of course purely Oriental. So too, again, the typically Oriental subject of the sacred tree between two animals appears in various forms. But here again we are met with the surprising fact that the Oriental element is far stronger in Greece than in Cyprus, as will be seen later in the account of the early Hellenic fabrics; and no doubt it is due to this cause that the Geometric style was not driven out from Cyprus as it was from Greece, but continued for many centuries.