Individual vases do not call for much comment, but there is a curious coffer of terracotta from Thebes in Berlin (Fig. 86),[961] painted with figures in this style. The subjects include the Asiatic Artemis, a hare-hunt, a woman leading a horse, a horse tied up, and two serpents erect, confronted. The ground is filled in with rosettes, crosses, and other ornaments, such as the so-called _swastika_. [Illustration: From _Jahrbuch_. FIG. 86. COFFER FROM THEBES: BOEOTIAN GEOMETRICAL STYLE (BERLIN MUSEUM). ] While on the subject of the Boeotian vases it is worth while to call attention to the remarkable parallels presented by two other classes of objects also found in that region: bronze fibulae and terracotta statuettes. The former may be regarded as important chronological evidence, inasmuch as their development can be clearly traced from their first appearance at the end of the Mycenaean period (about the tenth century), and similar types have been found in Rhodes, at Olympia, and elsewhere. The characteristic of the Boeotian fibulae is the flat plate which forms the foot (in some cases the central part or bow), and is generally of a quadrangular form, decorated with an engraved subject, usually animals or birds of a similar type to those painted in the panels on the vases. More rarely ships or human figures are found.[962] The terracotta figures (p. 123), on the other hand, bear a different relation to the pottery. They are flat board-like figures (σανίδες), known to the modern Greek digger as “Pappades,” the high head-dress which they wear suggesting to him the well-known hat of the orthodox “Papas” or priest. The flat surface of the body gives scope for ornamentation representing embroidered robes,[963] and the patterns employed are just those which are seen on the vases; and, moreover, the method of painting is the same, the figures being covered with a buff slip, the patterns in black with purple details. It should be remarked that some of these figures are comparatively developed in style,[964] and that they are practically _later imitations_ of the decoration of the vases. * * * * * In considering the Geometrical vases as a whole, we are struck with the laudable aspirations of the artist, who, though unable to execute his new ambitions with complete success, yet shows in his work the same promise of the future that is latent in all early Greek art. His best achievement is in the ornamentation. Oriental influences as yet count for very little, though they are perhaps to be discerned in the human figures, as already noted; Kroker also thinks that the nude female figures on the larger vases are due to Oriental art.[965] In any case they are not to be traced until late in the period, and first, as might be expected for geographical reasons, in the fabrics found at Kameiros in Rhodes.