Around the middle of the 7th century B.C. the first large-scale statues appeared in the Greek world. The types of these statues, and mainly of the standing male figure that is called kouros, caused a great sensation in small-scale sculpture. The cult statues of the Archaic temples have rarely survived. However, in most cases, we are able to conclude their type based on the numerous bronze figurines that were dedicated to the sanctuaries. During the 7th century B.C. Crete is the undisputable pioneer in bronze sculpture. Statuettes, such as the "kriophoros (rambearer) of Berlin", show the unbreakable continuity of the Minoan-Mycenean tradition. At the same time the principles of the Daedalic style are applied; these works go beyond Crete, as we can see from the "kouros of Delphi".
Another important centre of bronze sculpture of the same period is Boeotia. In Boeotian figurines the physiocratic tendencies in the representation of the body co-exist with the Geometric notion about the separate functional position of its body parts. This transitional phase, which characterizes Thessalian figurines as well, gradually relinquishes its position to the flat frontality of the daedalic figures, as in the female "statuette of Baltimore".

During the 6th century B.C. new centres appear and their works are dedicated to the Panhellenic and local sanctuaries. The relatively peaceful period, the economic prosperity of cities and the ambition of the tyrants resulted in the decoration of the sanctuaries with important large-scale works, which in their turn were copied by the prosperous classes when they dedicated their figurines. And while the Cretan school lost its vividness and originality, Ionia came to the fore with important bronze sculpture workshops in Samos and Ephesus. The basic characteristics of this school is the plasticity of the volumes and the soft smooth outlines. The statuettes of the korai in particular are distinguishable for a sophisticated gentleness and for the placid expression of their faces.

In Attica workshops of bronze sculpture, had existed from the 8th century B.C. However, we know a lot more about the small-scale sculpture of the 6th century, because of the depots that were created in Acropolis after the destruction of the Acropolis by the Persians in 480 B.C. Naturally, the type of Athena Promachos with the shield of goatskin and the spear prevailed, and was reproduced quite freely as a big statue like those that had been destroyed by the Persians. The proportions of the bodies are harmonious and the balanced forms radiate a spiritualness and grace. At the end of the 6th century B.C., the gorgoneia and the sphinxes, had already lost their monstrous characteristics.

Unfortunately much information about the Cyclades has not survived, but it seems that bronze sculpture was especially developed in Paros, where findings from Boeotia and Delphi are attributed to a Parian workshop. A group of mirrors with korai as stands is attributed to Aegina. The characteristics of the korai are related to the sculptures of the temple of Aphaia, but also to works from the northwest Peloponnese.