The local clay differs from that of Athens both in nature and appearance, being less well levigated and of a reddish-yellow colour, as compared with the warm brown of the Dipylon. Further, the designs are not laid directly on the clay, as in the latter, but on a thin creamy-yellow slip, as in Mycenaean and Ionian pottery. The technique is, generally speaking, inferior, as is also the black pigment used; the work is rough and hasty, the drawing careless and inaccurate. The vases are mostly small, at least compared with those of the Dipylon, and the favourite shape is the _kylix_, with or without a stem. Out of seventy-two examples given by Böhlau, no less than fifty-five take this form. He traces its development from a deep bowl with “base-ring,” which seems to be related to the Cypriote white-slip one-handled bowls; but the Boeotian type has at first two small finger-pieces in place of handles, afterwards replaced by a single handle for hanging up. The majority, however, have no less than four handles, and that they were still intended for suspension is shown by the method of decoration which can only be properly seen in this position (cf. Fig. 85). [Illustration: From _Jahrbuch_. FIG. 85. BOEOTIAN GEOMETRICAL VASES (BERLIN MUSEUM). ] There is a wearisome uniformity in the patterns, and indeed in the decoration generally. Only two examples are known from Boeotia with human figures,[958] and the rest belong to the intermediate class, with its combination of animals and decorative patterns. On the exterior is usually a broad frieze, divided by bands of ornament into four or five fields, in which are birds or palmette patterns; these panels are not necessarily arranged with reference to the position of the handles. The patterns comprise rows of vertical zigzags, dotted lozenges, chevrons, latticed triangles, rosettes, and scrolls, the first-named being specially characteristic of Boeotia. It is to be noted that the typical Athenian motives, the maeander and the ornamented square, do not occur; in fact, these bowls have no analogies in the Dipylon ware. But it is also interesting to observe the appearance of a new vegetable element in the form of friezes of palmettes and lotos-flowers.[959] The importance of this feature is due to the extensive part it was destined to play in the ornamentation of Greek vases all through the sixth century. Some of the palmettes are remarkably advanced, and the whole pattern is even emancipated from the confinement of the frieze, and treated freely without regard to space.[960] Böhlau, in his analysis of the ornament as a whole, notes its independence of the Athenian vases, though remaining a parallel and closely-related development.