The real novelty of the developed Geometrical pottery which now manifests itself in Greece consists in its evolution _as a style_, and the combination of the patterns into an artistic system, with a continuous progress towards symmetry and rhythm. Geometrical patterns are indeed the property of all primitive peoples, and are no less spontaneous and universal in their origin than the folk-lore stories which we find adopting the same or similar forms in all parts of the world. In Greece, no doubt, the cultured traditions of Mycenaean art had in course of time their due effect, and both in technique and in ornament left their impress on the inferior fabrics,[934] as we have seen to have been the case, especially in the Greek islands. It is an influence which is not confined to the pottery, but made itself felt, for instance, in architecture. It can hardly be doubted that in the Lion Gate of Mycenae we find the prototype of the Doric column; and the parallel with the Geometrical pottery can be further followed up when we consider that Doric architecture also became the common property of Continental Greece, and also realised its highest perfection at Athens. The Geometrical pottery has been found in great numbers in Attica and Boeotia, in the islands of Aegina, Melos, Thera, Rhodes, and Crete,[935] in Argolis and Laconia, in Sicily and Etruria, and also isolated specimens in Cyprus and the Troad.[936] That found in Italy and Cyprus is certainly exported from the mainland. It has been observed that each region has its own peculiar variety of the style, and this is especially conspicuous in the examples from Attica and Boeotia.[937] The first writer who attempted to deal with it scientifically was Conze,[938] but owing to its clearly-defined characteristics it has always been more or less correctly treated by the older schools of archaeologists. But with a more extended outlook over the fabrics of early Hellas, many problems have arisen in connection with it which have called for more recent discussion, and the writings of Kroker, Böhlau, and Wide in particular should be studied.[939] At Mycenae fragments of Geometrical pottery were found both on the surface and in the palace, among the débris of the huts built on its site; while in the island of Salamis there is a cemetery of distinctly transitional character, containing false amphorae with linear decoration and combinations of the spiral with the maeander.[940] It may be noted that a similar transitional cemetery was found by Mr. Paton at Assarlik in Caria,[941] and that the “sub-Mycenaean” pottery of Cyprus (p. 246) has been shown to exhibit the same combination of features. These facts fall into line with what has already been said as to the survival of Mycenaean art in these fabrics.