<P> The Severe Classical style (500--450 BC) is represented by the pedimental sculptures of the Temple of Zeus at Olympia, (470--456 BC). The eastern pediment shows a moment of stillness and "impending drama" before the beginning of a chariot race, the figures of Zeus and the competitors being severe and idealised representations of the human form . The western pediment has Apollo as the central figure, "majestic" and "remote", presiding over a battle of Lapiths and Centaurs, in strong contrast to that of the eastern pediment for its depiction of violent action, and described by D.E. Strong as the "most powerful piece of illustration" for a hundred years . </P> <P> The shallow reliefs and three - dimensional sculpture which adorned the frieze and pediments, respectively, of the Parthenon, are the lifelike products of the High Classical style (450--400 BC) and were created under the direction of the sculptor Phidias . The pedimental sculpture represents the Gods of Olympus, while the frieze shows the Panathenaic procession and ceremonial events that took place every four years to honour the titular Goddess of Athens . The frieze and remaining figures of the eastern pediment show a profound understanding of the human body, and how it varies depending upon its position and the stresses that action and emotion place upon it . Benjamin Robert Haydon described the reclining figure of Dionysus as "...the most heroic style of art, combined with all the essential detail of actual life". </P> <P> The names of many famous sculptors are known from the Late Classical period (400--323 BC), including Timotheos, Praxiteles, Leochares and Skopas, but their works are known mainly from Roman copies . Little architectural sculpture of the period remains intact . The Temple of Asclepius at Epidauros had sculpture by Timotheos working with the architect Theodotos . Fragments of the eastern pediment survive, showing the Sack of Troy . The scene appears to have filled the space with figures carefully arranged to fit the slope and shape available, as with earlier east pediment of the Temple of Zeus at Olympus . But the figures are more violent in action, the central space taken up, not with a commanding God, but with the dynamic figure of Neoptolemos as he seizes the aged king Priam and stabs him . The remaining fragments give the impression of a whole range of human emotions, fear, horror, cruelty and lust for conquest . The acroteria were sculptured by Timotheus, except for that at the centre of the east pediment which is the work of the architect . The palmate acroteria have been replaced here with small figures, the eastern pediment being surmounted by a winged Nike, poised against the wind . </P> <P> Hellenistic architectural sculpture (323--31 BC) was to become more flamboyant, both in the rendering of expression and motion, which is often emphasised by flowing draperies, the Nike Samothrace which decorated a monument in the shape of a ship being a well - known example . The Pergamon Altar (c. 180--160 BC) has a frieze (120 metres long by 2.3 metres high) of figures in very high relief . The frieze represents the battle for supremacy of Gods and Titans, and employs many dramatic devices: frenzy, pathos and triumph, to convey the sense of conflict . </P>

Pertaining to the buildings of ancient greece and rome is called