bronzes are major additions to the surviving examples of ancient Greek sculpture. They belong to a transitional period from archaic Greek sculpture to the early Classical style, disguising their idealized geometry and impossible anatomy under a distracting and alluring "realistic" surface. They are fine examples of contrapposto - their weight is on the back legs, making them much more realistic than with many other Archaic stances. Their musculature is clear, yet not incised, and looks soft enough to be visible and realistic. The bronzes' turned heads not only confer movement, but also add life to the figures. The asymmetrical layout of their arms and legs adds realism to them. The eyes of Statue A are formed of calcite (originally supposed to be ivory), while their teeth are made with silver. Their lips and nipples are made of copper. At one time, they held spears and shields, but those have not been found. Additionally, Warrior B once wore a helmet pushed up over his head, and it is thought that Warrior A may have worn a wreath over his. The average thickness of the bronze is 8.5 mm (0.33 inch) for Statue A and 7.5 mm (0.3 inches) for Statue B. Origin It is generally assumed that the statues were being carried on a ship that sank, perhaps in a storm, although no evidence of a wreck has been found. It is not impossible that the statues were on their way to a local destination, either near the time of their creation or later. Further explorations undertaken in 2004 by a joint Italian-American team of archaeologists identified the foundations of an Ionic temple on this slowly subsiding coast. Undersea explorations by robotic vehicles along the submerged coastline from Locri to Soverato are providing a more detailed picture of this coast in Antiquity, although no further bronzes comparable to those of Riace have been found. Attributions of such spectacular works of art to famous sculptors have followed traditional lines: "all the 'big' names of Classical times have been proposed in this connection", Brunilde Sismondo Ridgway writes, noting that she finds it encouraging that at least a few scholars are willing to consider a non-Attic, even a 'colonial' workshop of origin, as contrasted with "the dominant Athenocentrism of previous years." While it is certain that the bronzes are original works of the highest quality, it has also been argued that their torsos have