Buon fresco gives you one working window. Pigment goes into hydrated lime while the plaster is still open, the carbonate cures around it, and the colour becomes the wall. There is no correcting a line after the fact, so every contour at Knossos was drawn fast and continuous — dolphins, bull-leapers, blue birds, papyrus stems.

This system inherits that discipline. Flat mineral fields inside a drawn outline, six documented colours and no more, depth built from stacked horizontal bands instead of perspective. Fragment edges and the plain render between surviving pieces stay visible, because that is what the artefact actually looks like.