At Aphidna in Attica a find has been made of very rude pottery, without glaze or varnish, but with decoration of a Geometrical character, sometimes painted.[931] Although earlier than any other pottery in Attica, it need not be pre-Mycenaean in date; it seems more likely to be a _contemporary survival_. Early wares have also been found in the islands, as in Aegina, with Geometrical ornament in _matt_-colour; nor must we forget that the Geometrical principle was known in Cyprus and the Cyclades, as also at Hissarlik, at a very remote age. From these data Dr. Wide has ingeniously drawn the conclusion that the Geometrical style was always indigenous in Greece,[932] pointing out that it was more likely and more in accordance with historical precedent that the Dorians, like Rome in later days, accepted the art of the people they conquered[933] than that they introduced their own and forced it upon the subjugated race. This theory has the additional merit of disposing of a difficulty which had always been felt. If the Geometrical pottery was Dorian, how do we account for its reaching its height in Attica, which was never at any time Doric, or influenced by Doric characteristics? But if it can be shown to be indigenous in Attica, the difficulty disappears. Again, it is necessary to explain the varying character of Geometrical pottery in different parts of Greece, as compared with the homogeneity of the Mycenaean wares. If, as was supposed, the Geometrical style came full-grown into Greece, why should this be? Dr. Wide therefore maintains that there were in Greece _concurrently_ a _Bauernstil_ or domestic art, aboriginal and industrial, which produced the rude geometrical fabrics, and a _Herrenstil_ or _art de luxe_, exotic and ornamental, which we know as Mycenaean. With the upheaval and dispersion of the Achaean aristocracy this art practically died out, but the humbler industry held its ground, and gradually forged its way to comparative excellence, perhaps learning much from Mycenaean technique.