During the 6th century B.C., many workshops of bronze sculpture flourished in Peloponnese, with the oldest one probably that of Argos. We also meet the characteristics of this workshop in the large-scale plastics of the area, as in the sculptures of Kleobes and Biton: muscular bodies with marked joints, spherical heads, strong thighs and heavy proportions that express power but not intellectuality.
The ancient writers refer complimentarily to the bronze sculpture and the excellent experience and aptitude of the bronze sculptors of Corinth, but few figurines were found in that area. However, they are found in large quantities in most of the Panhellenic sanctuaries. At the beginning of the 6th century the bodies are notable for their heavy, still "geometric" structure. However, later on two tendencies appear. The first one approaches the Argive school, whereas the second one prefers figures with marked vertical axes, strong but slender bodies and angular faces that play with light. Still, both tendencies are distinguishable for the clarity of the outlines and the accuracy of their details. Some good examples are the horsemen-Dioscouri from Dodona and the figurines of Artemis and Zeus from Olympia. Moreover in Corinth, more than anywhere, solid bronze figures of kouroi and korai were used as handles of bronze vases and mirrors. The Corinthian figurines and their local imitations are found throughout northwest Greece. The important colonies of Corinth in this area -such as Ambrakia, Corcyra and Apollonia- must have played a very active part in their spread.

From Sparta of the 7th century B.C. we have many lead figurines, which were almost flat figures that were cast in open work relief moulds. The bronze figurines of the 6th century are notable for the originality of their themes and the severity of their forms, while they have clear indications of Corinthian influences. However, the faces are less expressive than the corresponding Corinthian ones. We meet hoplites, naked korai, young athletes and gods in a solemn stance.
A special case is the mountainous and relatively secluded Arkadia. In its numerous sanctuaries are often found figurines of shepherds that offer a votive offering to some deity, Heracles, Demeter and more frequently to Hermes. Their style is eclectic, with Laconian and Corintian elements. Finally, the contribution of Sicyon to the development of bronze sculpture, has much been discussed, but for the time being the works of the Sicyonian workshop are not easy to identify.

In Central Greece the workshops of Boeotia and Thessaly, did not manage to develop a style of their own although they never ceased to create. The provincial character of their works could not surpass the level of the simple imitation. On the contrary, in Macedonia, wher up to a few years ago it was impossible even to consider the existence of workshops of bronze sculpture, it seems all the more likely that a complex style flourished with mostly Ionian and Corinthian elements. The researches of recent years has brought to light many works, with the special characteristics that have already been observed in the "the squatting person of Edessa" and "Heracles of Amphipolis". However, this phenomenon is until today observed more often in the field of toreutics.