The earliest specimens are of a moderately good clay, unglazed. They are regular in shape, being made by the help of a wheel, and for the most part not inelegant, though they cannot be said to possess any remarkable beauty. Many are without ornament of any kind, being apparently mere jars, used for the storing away of oil or wine; they have sometimes painted or scratched upon them, in Phoenician characters, the name of the maker or owner. A few rise somewhat above the ordinary level, having handles of some elegance, and being painted with designs and patterns, generally of a geometrical character. A vase about six inches high, found at Jerusalem, has, between horizontal bands, a series of geometric patterns, squares, octagons, lozenges, triangles, pleasingly arranged, and painted in brown upon a ground which is of a dull grey. At the top are two rude handles, between which runs a line of zig-zag, while at the bottom is a sort of stand or base. The shape is heavy and inelegant.[852] Another vase of a similar character to this, but superior in many respects, was found by General Di Cesnola at Dali (Idalium), and is figured in his “Cyprus.”[853] This vase has the shape of an urn, and is ornamented with horizontal bands, except towards the middle, where it has its greatest diameter, and exhibits a series of geometric designs. In the centre is a lozenge, divided into four smaller lozenges by a St. Andrew’s cross; other compartments are triangular, and are filled with a chequer of black and white, resembling the squares of a chessboard. Beyond, on either side, are vertical bands, diversified with a lozenge ornament. Two hands succeed, of a shape that is thought to have “a certain elegance.”[854] There is a rim, which might receive a cover, at top, and at bottom a short pedestal. The height of the vase is about thirteen inches. In many of the Cyprian vases having a geometric decoration, the figures are not painted on the surface but impressed or incised. Messrs. Perrot and Chipiez regard this form of ornamentation as the earliest; but the beauty and finish of several vases on which it occurs is against the supposition. There is scarcely to be found, even in the range of Greek art, a more elegant form than that of the jug in black clay brought by General Di Cesnola from Alambra and figured both in his “Cyprus”[855] and in the “Histoire de l’Art.”[856] Yet its ornamentation is incised. If, then, incised patterning preceded painted in Phoenicia, at any rate it held its ground after painting was introduced, and continued in vogue even to the time when Greek taste had largely influenced Phoenician art of every description.