They provide the first instance of the use of tin glaze; although the date of its introduction cannot be certainly determined.
A well-known fragment from Nimrūd in the British Museum belongs to about 890 extremely large friezes, one of them about 11 yards (10 metres) long, were being erected at Susa.
By the time of MM II the use of the fast wheel had become general, imparting a new crispness to the profiles.
They are generally executed in dark colours on a light ground.Vases, bowls, bowls on feet, and goblets have been found, all dating from about 3200 pottery was no longer decorated.Later, the colouring materials common to the Egyptian glassmaker, including cobalt and manganese, were added. All Neolithic vases are handmade, and the best are highly polished; in other respects, the various local schools have little in common, since communications were severely limited in this remote period.The main centres of pottery production lay in Crete.Thessalian potters favoured a red monochrome ware but occasionally attempted simple painted decoration consisting of rectilinear patterns, with a vertical or diagonal emphasis.
The Neolithic pottery of Crete is remarkable for its finely burnished surface, any decoration usually incised.
The use of a red slip covering and molded ornament came a little later.
Handmade pottery has been found at Ur, in Mesopotamia, below the clay termed the Flood deposit.
metalworking: the two leading shapes, the sauceboat and the high-spouted jug, both have metal prototypes.
Painted ornament is rare before the final stage (Early Helladic III, or EH III); in the central phase (EH II), the surface is coated with a dark pigment formed from a solution of the clay.
This type of paint, later much improved by the Athenians (see below Attic black-figure and red-figure), remained the normal medium of decoration on all Aegean pottery until the adoption of a true silicate glaze in Byzantine times.