Note 13 — RENAISSANCE FANCIES AND STUDIES: (continued 2)

Hence the human figure came to be imitated by a process which was not sculpture in the literal sense of carving. It is significant that the Latin word whence we get effigy has also given us fictile, the making of statues being thus connected with the making of pots; and that the whole vocabulary of ancient authors shows that they thought of statuary not as akin to cutting and chiselling, but to moulding (πλάσσω = fingo), shaping out of clay on the wheel or with the modelling tool.13 It seems probable that marble-work was but rarely used for the round until the sixth century; and the treatment of the hair, the propping of projecting limbs and drapery, makes it obvious that a large proportion of the antiques in our possession are marble copies of long-destroyed bronzes.14 So that the Greek statue, even if eventually destined for marble, was conceived by a man having the habit of modelling in clay.