Question: During which period did small scale statuettes for private patrons develop?
About the article "High Renaissance", section "Sculpture".

Candidate passages:
High Renaissance sculpture, as exemplified by Michelangelo's "Pietà" and the iconic "David", is characterized by an "ideal" balance between stillness and movement.
High Renaissance sculpture was normally commissioned by the public and the state, this becoming more popular for sculpture is an expensive art form.
Sculpture was often used to decorate or embellish architecture, normally within courtyards where others were able to study and admire the commissioned art work.
Wealthy individuals like cardinals, rulers and bankers were the more likely private patrons along with very wealthy families; Pope Julius II also patronized many artists.
During the High Renaissance there was the development of small scale statuettes for private patrons, the creation of busts and tombs also developing.
The subject matter related to sculpture was mostly religious but also with a significant strand of classical individuals in the form of tomb sculpture and paintings as well as ceilings of cathedrals.
Kai Nielsen also created statuettes which were produced for Bing & Grondahl and H.A.
Kähler. 
 "For conceptual analysis, see Economic reforms" Economic policies.
Mustafa Kemal instigated economic policies to develop small and large scale businesses, but also to create social strata (industrial bourgeoisie along with the peasantry of Anatolia) that were virtually non-existent during the Ottoman Empire.
The primary problem faced by the politics of his period was the lag in the development of political institutions and social classes which would steer such social and economic changes.
Mustafa Kemal's vision regarding early Turkish economic policy was apparent during the İzmir Economic Congress of 1923 which was established before the signing of the Lausanne Treaty.
The initial choices of Mustafa Kemal's economic policies reflected the realities of his period.
After World War I, due to the lack of any real potential investors to open private sector factories and develop industrial production, Kemal established many state-owned factories for agriculture, machinery, and textile industries. 
Since 1950, the statuettes have been legally encumbered by the requirement that neither winners nor their heirs may sell the statuettes without first offering to sell them back to the Academy for US$1.
If a winner refuses to agree to this stipulation, then the Academy keeps the statuette.
Academy Awards not protected by this agreement have been sold in public auctions and private deals for six-figure sums.
In December 2011, Orson Welles' 1941 Oscar for "Citizen Kane" (Best Original Screenplay) was put up for auction, after his heirs won a 2004 court decision contending that Welles did not sign any agreement to return the statue to the Academy.
On December 20, 2011, it sold in an online auction for US$861,542.
While the Oscar is owned by the recipient, it is essentially not on the open market.
Michael Todd's grandson tried to sell Todd's Oscar statuette to a movie prop collector in 1989, but the Academy won the legal battle by getting a permanent injunction.
Although some Oscar sales transactions have been successful, some buyers have subsequently returned the statuettes to the Academy, which keeps them in its treasury. 
The splendour of Byzantine art was always in the mind of early medieval Western artists and patrons, and many of the most important movements in the period were conscious attempts to produce art fit to stand next to both classical Roman and contemporary Byzantine art.
This was especially the case for the imperial Carolingian art and Ottonian art.
Luxury products from the Empire were highly valued, and reached for example the royal Anglo-Saxon Sutton Hoo burial in Suffolk of the 620s, which contains several pieces of silver.
Byzantine silks were especially valued and large quantities were distributed as diplomatic gifts from Constantinople.
There are records of Byzantine artists working in the West, especially during the period of iconoclasm, and some works, like the frescos at Castelseprio and miniatures in the Vienna Coronation Gospels, seem to have been produced by such figures.
In particular, teams of mosaic artists were despatched as diplomatic gestures by emperors to Italy, where they often trained locals to continue their work in a style heavily influenced by Byzantium.
Venice and Norman Sicily were particular centres of Byzantine influence.
The earliest surviving panel paintings in the West were in a style heavily influenced by contemporary Byzantine icons, until a distinctive Western style began to develop in Italy in the Trecento; the traditional and still influential narrative of Vasari and others has the story of Western painting begin as a breakaway by Cimabue and then Giotto from the shackles of the Byzantine tradition.
In general Byzantine artistic influence on Europe was in steep decline by the 14th century if not earlier, despite the continued importance of migrated Byzantine scholars in the Renaissance in other areas.
Islamic art began with artists and craftsmen mostly trained in Byzantine styles, and though figurative content was greatly reduced, Byzantine decorative styles remained a great influence on Islamic art, and Byzantine artists continued to be imported for important works for some time, especially for mosaics.
The Byzantine era properly defined came to an end with the fall of Constantinople to the Ottoman Turks in 1453, but by this time the Byzantine cultural heritage had been widely diffused, carried by the spread of Orthodox Christianity, to Bulgaria, Serbia, Romania and, most importantly, to Russia, which became the centre of the Orthodox world following the Ottoman conquest of the Balkans.
Even under Ottoman rule, Byzantine traditions in icon-painting and other small-scale arts survived, especially in the Venetian-ruled Crete and Rhodes, where a "post-Byzantine" style under increasing Western influence survived for a further two centuries, producing artists including El Greco whose training was in the Cretan School which was the most vigorous post-Byzantine school, exporting great numbers of icons to Europe.
The willingness of the Cretan School to accept Western influence was atypical; in most of the post-Byzantine world "as an instrument of ethnic cohesiveness, art became assertively conservative during the "turcocratia"" (period of Ottoman rule).
Russian icon painting began by entirely adopting and imitating Byzantine art, as did the art of other Orthodox nations, and has remained extremely conservative in iconography, although its painting style has developed distinct characteristics, including influences from post-Renaissance Western art.
All the Eastern Orthodox churches have retained highly protective of their traditions in terms of the form and content of images and, for example, modern Orthodox depictions of the Nativity of Christ vary little in content from those developed in the 6th century.