This article relies on historiographical records to outline the issues raised by the use of Gothic models. After recalling the definition and etymology of the noun ‘model', this article examines the status of these issues through four key areas: the artistic model, model books, three-dimensional models, and the transfer of models. Whenever a case of protype-copy can be identified, the techniques used in the copying process vary according to the actual distance that separates the two works of art (within the same workshop, separated by a few dozen kilometres or by several hundred kilometres). It was when an increasing number of works of art were identified as imitations of models a very long distance away that the hypothesis of the existence of model books emerged. Research very quickly stepped into the breach by supposing, backed by graphic support, that miniature threedimensional works of art had been created for use by sculptors. Above and beyond the question of models and how they circulated, the various methods of transfer are mentioned before going on to provide a final overview of the questions raised by the theme of this work and which will be addressed by various articles.