The evolution of this rigorously _non-spatial_ art occupies the three centuries from 650 to 350, a period extending from the completion of the Doric and the simultaneous appearance of a tendency to free the figures from the Egyptian limitation of frontalness[278] to the coming of the Hellenistic and its illusion-painting which closed-off the grand style. This sculpture will never be rightly appreciated until it is regarded as the last and highest Classical, as _springing from a plane art, first obeying and then overcoming the fresco_. No doubt the technical origin can be traced to experiments in figure-wise treatment of the pristine column, or the plates that served to cover the temple wall,[279] and no doubt there are here and there imitations of Egyptian works (seated figures of Miletus), although very few Greek artists can ever have seen one.[280] But as a _form-ideal_ the statue goes back through relief to the archaic clay-painting in which fresco also originated. Relief, like fresco, is tied to the bodily wall. All this sculpture right down to Myron may be considered as relief detached from the plane. In the end, the figure is treated as a self-contained body apart from the mass of the building, but it remains essentially a silhouette in front of a wall.[281] Direction in depth is excluded, and the work is spread out frontally before the beholder. Even the Marsyas of Myron can be copied upon vases or coins without much trouble or appreciable foreshortenings.[282] Consequently, of the two major “late” arts after 650, fresco definitely has the priority. The small stock of types is always to be found first in vase-figuring, which is often exactly paralleled by quite late sculptures. We know that the Centaur group of the West pediment at Olympia was worked out from a painting. On the Ægina temple, the advance from the West to the East pediment is an advance from the fresco-character to the body-character. The change is completed about 460 with Polycletus, and thenceforward plastic groups become the model for strict painting. But it is from Lysippus that the wholly cubic and “all-ways” treatment becomes thoroughly veristic and yields “fact.” Till then, even in the case of Praxiteles, we have still a lateral or planar development of the subject, with a clear outline that is only fully effective in respect of one or two standpoints. But an undeviating testimony to the picture-origin of independent sculpture is the practice of polychroming the marble—a practice unknown to the Renaissance and to Classicism, which would have felt it as barbaric[283]—and we may say the same of the gold-and-ivory statuary and the enamel overlaying of bronze, a metal which already possesses a shining golden tone of its own. IV