This study examines the first representations of historical events on public monuments in Athens during the fifth century BC. In the Near East and Egypt, for much of their history, leaders commonly erected monuments representing historical figures and contemporary events. In Archaic Greece, however, monuments rarely depicted individuals or historical subjects but, instead, mostly displayed mythological or generic scenes. With the reforms of Cleisthenes in 508/7 BC, the Athenians adopted a democratic constitution and, over the next century, built three different monuments which publicly displayed historical deeds. This dissertation looks to explain the origins of these three "historical monuments" by exploring the relationship between democracy and these pieces of art. The first chapter looks at monumental practices in the Archaic Era and explains why, unlike in the Near East and Egypt, the Greeks did not usually represent contemporary figures or historical events on monuments. This chapter suggests that the lack of these sort of honors is best explained by the unique nature of the Greek polis which values the well-being of the community over the individual. The second chapter concerns the origins of the first sculpture group of Tyrant Slayers, who were granted unprecedented commemorative portraits in the Agora most likely in the last decade of the sixth century. While many have posited that this monument, which celebrated a political act of two recently deceased individuals, can be explained by the new role that everyday individuals played under the democratic government, this study suggests that this honor was adapted from the practice of dedicating effigies of athletic victors. The discussion then moves to the Stoa Poikile where, in the 460's, the Athenians hung scenes of historical battles next to representations of mythical tales. The chapter argues that the designers of the Painted Stoa drew on Eastern traditions of large-scale painting and public displays of historical scenes in order to justify the emerging role of Athens as imperial master over the Eastern Aegean. The fourth chapter focus on scenes of historical battles on the Athena Nike temple which was constructed atop the Athenian Acropolis in the mid-420's. The analysis suggests that two specific scenes of Athenians repelling invaders were chosen in order to address contemporary concerns brought about by Spartan invasions. Furthermore, it will be shown that the adoption of historical scenes for temple decoration was part of a series of changes to religious and artistic practices resulting from the Archidamian War and the plague. In the end, this study argues that there is little correlation between democratic ideology and historical representations in the monumental arts of fifth-century Athens.