Various readings for the Ovidian passage have been proposed. First, the story was strictly seen as a morality tale. Brooks Otis locates it among other 'vengeance episodes' in Books 3-6.400. Focus has also been on the connection of the ekphrases with Ovid's own aesthetic conceptions. In the center of her tapestry, Minerva places Jupiter presiding over her dispute with Neptune. Twelve gods surround Jupiter, each with a distinctive emblem. The two contestants each perform a miracle to assert a claim to Athens. In addition, Minerva draws four smaller panels in the corners, which show what happened to other mortals who defied the gods — a message that Arachne 'fails' to decode, as many critics see it. A more feminocentric reading would perhaps see a deliberate refusal to conform to Minerva's viewpoint. For her part, Arachne weaves a series of scenes where transformed gods rape human women. Minerva's work is defined by harmony and balance of composition, while Arachne's is a panoply of stories, without a defined structure. In fact, it has been recognized that Arachne's tapestry is impossible to imagine as a real picture.