One of the first results of these innovations was to free relief from its subordination to architecture. It begins now to take its place as a self-sufficing artistic object like a picture. Greek pictures were mainly of the fresco type, and therefore immovably fixed to walls, though easel pictures now begin to be more frequent. There was nothing dissimilar in the position of a relief decorating a wall-panel without architectural significance. This idea found its earliest manifestation in Ionia with friezes of the Assos type on an architrave block, and therefore at variance with architectural principles. Friezes as wall decorations appear commonly in the Ionian buildings of the fifth and fourth centuries, like the Nereid and Trysa monuments and the Mausoleum. We find in the Hellenistic age the use of panels as wall decorations quite frequent all over Asia Minor. Thus at Cyzicus we have some curious mythological reliefs called Stylopinakia, which appear to have been panels fixed between the columns of a peristyle. We have the Apotheosis of Homer by Archelaos of Priene, a clear instance of the decorative panel with a pictorial background; we have smaller pieces like the Menander relief in the Lateran; the visit of Dionysos to a dramatic poet; and all the series of so-called Hellenistic reliefs ascribed by Schreiber[28] to an Alexandrian origin, by Wickhoff[29] to the Augustan age and Italian art. The reliefs, like other sculpture of the Hellenistic age, cannot be judged as a whole.[30] Some are Augustan, like the reliefs in the Palazzo Spada, and some are undoubtedly Alexandrian, like the Grimani reliefs in Vienna. Others, again, show a strong Lysippic influence, which at once connects them with Rhodes. The Telephos frieze, however, is Pergamene, and the Cyzicus reliefs must have fallen mainly in the Pergamene sphere of art. We are, therefore, entitled to demand a separation of the reliefs into just as many classes as the sculpture. A fine piece of very high relief from Pergamon is the group of Prometheus on the Caucasus freed by Herakles.[31] Besides the influence of pictures on relief there is also the influence of earlier sculpture. One of the figures in the Telephos relief reproduces the Weary Herakles of Lysippos.[32] It would not be difficult to point out other examples of the adaptation of older types. The Marsyas group is itself a case in point. The indifference of the Hellenistic artist to his subject made him the readier to adapt earlier types, provided he had a free hand for his details of execution and expression. [Illustration: 9] [Illustration: 10]