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The two pediments and twelve metopes adorning the Temple of Zeus at Olympia of ca. 470–456 B.C. have been the subject of scholarly inquiry since their discovery in the 19th century. These inquiries tend to treat the sculptural elements separately from each other, or largely detached from their Olympic context, and to interpret the sculptures as negative admonitions about hubris and consequent justice, or about dike and arete, or as political allegories. The present study examines the sculptures as a programmatic unity intimately connected with Olympia and the activities that occurred there and argues that, contrary to previous interpretations, the sculptures were created to serve as positive models to inspire and exhort Olympic athletes to deeds of honor and glory. [ABSTRACT FROM AUTHOR]

The article discusses the composition of the west pediment of the Parthenon in Athens, Greece. This pediment is to be read on two levels because it is divided into Athenians side and Eleusinians side. Each level of the pediment reflects various meanings. The primary levels represents the struggle between Athena and Poseidon for Attica, the secondary level suggests the battle of Athenians and Eleusinians for the same prize, while the third level implies the victory of Athenians over Eleusinians.