Figure carving is the one part of this work that cannot be corrected, and that is why it begins in clay rather than in wood.
Ornament can be adjusted as it is cut. A leaf that comes out heavy can be taken back; a scroll that runs short can be extended into its neighbour. Nothing is committed until quite late.
A figure is different. The moment a shoulder is cut too deep, or a face set at the wrong angle, there is no material left to bring it back - and unlike a leaf, everyone looking at it knows immediately when it is wrong, because everyone knows what a person looks like.
So our carvers model each figure first in clay, at the size it will be carved, and work on that until the pose, the proportion and the fall of the drapery are right. The model can be changed a hundred times.
Only then is the timber roughed out, with the model beside the bench, and the figure brought down towards it in stages - measured from the model at several points rather than judged by eye.
The two side figures are modelled as a facing pair, not one copied and reversed, so each is at ease in its own position.