Severe style in the context of Temple of Zeus, Olympia

The statue of Athena Parthenos (Ancient Greek: Παρθένος Ἀθηνᾶ, lit. 'Athena the Virgin') was a monumental chryselephantine sculpture of the goddess Athena. Attributed to Phidias and dated to the mid-fifth century BCE, it was an offering from the city of Athens to Athena, its tutelary deity. The naos of the Parthenon on the acropolis of Athens was designed exclusively to accommodate it.

Many artists and craftsmen worked on the realization of the sculpture, which was probably built around a core of cypress wood, and then paneled with gold and ivory plates. At about 13 meters high, the statue reflected the established aesthetic canon of the severe style (clothing) while adopting the innovations of the high classical (leg position). She was helmeted and held a large round shield and spear, placed on the ground to her left, next to her sacred snake. Clothes, jewellery, accessories, and even the statue base were decorated, mainly with the snake and gorgon motif.

Kritios (Ancient Greek: Κριτίος, /krɪˈtiːəs/) was an Athenian sculptor, probably a pupil of Antenor, working in the early 5th century BCE, whose manner is on the cusp of the Late Archaic and the Severe style of Early Classicism in Attica. He was the teacher of Myron. With Nesiotes (Νησιώτης,) Kritios made the replacement of the Tyrannicides ("Tyrant-killers") group by Antenor, which had been carried off by the Persians in the first stage of the Greco-Persian Wars. The new group stood in the Agora of Athens and its composition is known from Roman copies.

With Nesiotes Kritios made other statues, of bronze, dedicated on the Acropolis, of which only their inscribed bases remain to give testament. The head of a marble statue found on the Acropolis so much resembles the copies of one of the Tyrannicides – Harmodius – that it has been called the Kritios Boy (now in the Acropolis Museum). Its easy naturalism and relaxed contrapposto set it apart from the Late Archaic conventional kouroi that preceded it. It was re-discovered too late (1865) to have had an effect on Neoclassical sculpture, as it would have done if it had been known a century earlier.

The Exaltation of the Flower (L'Exaltation de la Fleur) is the modern title given to an early Classical Greek marble fragment of a funerary stele from the 5th century BCE. It was discovered in 1861 by Léon Heuzey and Honoré Daumet at a church in Farsala, Thessaly, Greece. Carved in bas-relief in the severe style, the extant upper fragment of the marble relief stele depicts two women holding what appear to be flowers or other objects. The work is held by the Louvre museum in the Department of Greek, Etruscan, and Roman Antiquities (inv. Ma 701).

Ephebos (Greek: ἔφηβος; pl. epheboi, Greek: ἔφηβοι), latinized as ephebus (pl. ephebi) and anglicised as ephebe (pl. ephebes), is a term for a male adolescent in Ancient Greece. The term was particularly used to denote one who was doing military training and preparing to become an adult. From about 335 BC, ephebes from Athens (aged between 18–20) underwent two years of military training under supervision, during which time they were exempt from civic duties and deprived of most civic rights. During the 3rd century BC, ephebic service ceased to be compulsory and its time was reduced to one year. By the 1st century BC, the ephebia became an institution reserved for wealthy individuals and, besides military training, it also included philosophic and literary studies.

Peripoli (περίπολοι) were troops assigned to patrol duty, the term was also used for Athenian ephebes during the two years of their ephebic training, and this phase of their service was known as peripolia (περιπολία).