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Throughout the series of sculptured marbles with which the Parthenon was decorated, Phidias’ aim was to illustrate the greatness of the goddess of the Athenians. In the pedimental groups the artist showed Athena’s miraculous birth and her victory in the contest with Poseidon. The eastern pediment pictured Olympus just after the axe of Hephaestus had freed Athena from her father’s head. The virgin stood fully armed by the side of Zeus in the midst of the wondering gods. The design for the western pediment portrayed a scene even more closely connected with Athenian history. Poseidon had claimed the right to give a name to the city of the sons of Cecrops, a demand to which Athena would not agree. It was decided that the one who, in the opinion of Zeus, produced the more serviceable gift for mankind, should secure the privilege. Phidias chose the moment when Zeus had awarded the right to Athena on the ground that the olive tree, which had sprung up on the Acropolis at her command, was of more value to the human race than the horse—the emblem of war—upon which Poseidon had relied.