Question: When was there development of small scale stauettes for private patrons?
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.
A significant issue in artisanal and small-scale arises when larger mining companies gain rights to develop deposits that are currently worked by artisanal minings.
The International Council on Mining and Metals (ICMM) has produced a guidance note for companies engaging with the artisanal and small-scale mining (ASM) sector.
As is noted in the introduction to this document "The fact that much of ASM activity occurs outside regulatory frameworks – whether illegal or not – can also present significant challenges for companies and regulators.
There can be significant tension between ASM miners and their own governments – with companies caught in the middle.
"The guidance document, which is put forward as a pilot was produced in partnership with Communities and Small-Scale Mining (CASM), the International Finance Corporation’s Oil, Gas, and Mining Sustainable Community Development Fund (IFC CommDev) and ICMM. 
There had been small scale coal extraction at Danyderi and Perthygleision, but in 1869 John Nixon started development of the Taff Colliery, later to be known as the Merthyr Vale Colliery.
The village immediately grew up around the shaft development, as did the later communities of Aberfan, Nixonville and Mount Pleasant.
Completed in 1875, when the first commercial coal was brought up, there was a celebration called in the local Windsor Hotel. 
Francesco di Vannuccio (documented 1356–1389; died before 1391) was an Italian painter born in Siena.
A small body of work has been ascribed to this painter, characterized by an attention to and love of pattern and decoration, a tradition dating back in Siena to Simone Martini.
A signed and dated double-sided processional standard of 1380, painted on one side with the "Crucifixion" and on the other side with a painted glass depiction of the "Virgin Enthroned with Saints", in the Gemäldegalerie, Berlin (inv.
no.
1062B), has been the basis on which a number of other paintings have been attributed.
Most of these are small-scale works, richly finished, which were meant for private devotion, suggesting that Francesco di Vannuccio worked for a discerning and wealthy group of private patrons. 
Karl Nilsson died in 1569, but the estate stayed in his family until 1606 when the Swedish state bought it in order to build a small scale military industry at the site.
A new blast furnace and foundry were soon built where cannons, cannonballs and grenades were made of iron.
This military production was continued until the mid 17th century, but from 1621 by private lease-holders.
In 1670 the Swedish state sold Gyttorp to private owners and the water power was now only used for a watermill and saw mill.
A furnace for copper production was built here in the 1710s but was closed in the 1750s.
Between 1706–1804 there was an inn in Gyttorp.