The subject of Greek =sculpture in terracotta= is so wide as to demand a volume to itself; but a discussion of the uses to which clay was put by the Greeks would not be complete without some mention of their achievements in this direction. We propose therefore briefly to review the main features of Greek terracotta statuettes and reliefs, by way of illustrating the purely artistic use which they made of this material. The subject may be divided under four heads: (1) Large statues; (2) Statuettes or figurines; (3) Reliefs; (4) Moulds. Large or life-size statues belong more particularly to the earlier phases of Greek art, but appear again in its later developments, under Italian influences. Statues of terracotta were also a common feature of Italian art, being, in fact, the usual material employed by Etruscan statuaries, as well as for the decoration of temples (see Chapter XVIII.). Greek terracotta statues are practically non-existent; and although there are some female figures nearly life-size and a male torso of almost colossal proportions in the British Museum, also a Hermes in the Vatican, these were found at Rome, belong to the Roman period, and, though Greek in style, are really following an Etruscan fashion. It is characteristic of the Hellenic race that from its earliest beginnings it did not employ clay for utilitarian purposes exclusively, but, influenced partly by the natural imitative instincts of man, partly by the anthropomorphic tendencies of the Greek religion, soon learned the value of this easily worked material for producing images of deities, animals, and other objects. Although an equally high antiquity may be claimed for images of wood, and the word ξόανον used for a primitive cult-statue argues for the frequent use of this material, yet the history of the word πλάσσειν tells equally in the other direction. Originally used of moulding wet clay, it came by degrees to denote modelling in general, and finally its derivative πλαστική became the authorised classical word for sculpture.