The Altar of Zeus at Pergamon – 3D MODEL

The Pergamon Altar, an immense architectural marvel, was erected during the reign of King Eumenes II in the first half of the 2nd century BCE. Positioned atop one of the terraces of the Pergamon acropolis in Asia Minor, present-day Turkey, this monumental structure boasted impressive dimensions, spanning 35.74 meters (116′ 31/32″) in width and 33.4 meters (109′ 6 5/8″) in depth. The front stairway alone measured nearly 20 meters (65′ 11/16″) in width. Adorning its base was a detailed frieze depicted in high relief, illustrating the epic battle between the Giants and the Olympian gods, known as the Gigantomachy. Additionally, within the inner court walls surrounding the primary fire altar atop the stairs, a secondary, albeit smaller and less well-preserved, frieze depicted consecutive scenes from the life of Telephus, the mythical founder of Pergamon. The Pergamene kingdom, established by Philetaerus in the early 3rd century BCE, initially fell under the rule of the Hellenistic Seleucid empire. Attalus I, the nephew and successor of Eumenes I, marked a significant shift by securing complete autonomy for the region. His victory over the Celtic Galatians in 228 BCE paved the way for him to proclaim himself king, heralding the birth of an independent Pergamene kingdom. Despite facing a Seleucid counteroffensive led by Antiochos III, which advanced to the gates of Pergamon, Attalus managed to maintain Pergamene independence. Recognizing the growing threat posed by the Seleucids in the east, Attalus shifted his focus westward towards Greece, where he successfully seized control of nearly all of Euboea. His son, Eumenes II, continued to diminish the influence of the Galatians and ruled jointly with his brother Attalus II, who succeeded him. In 188 BCE, Eumenes II forged the Treaty of Apamea as a staunch ally of Rome, effectively curbing the influence of the Seleucids in Asia Minor. The Attalids emerged as a burgeoning power, eager to showcase their significance to the wider world through the construction of grandiose edifices. Contrary to popular assumptions, the Pergamon Altar did not function as a temple; instead, it likely served as the altar of a temple, as customary practice dictated that altars be placed outdoors in front of temples. It is speculated that the Athena temple located on the Acropolis terrace above may have served as the focal point for worship, with the altar possibly designated solely for sacrificial rituals. Alternatively, it is conceivable that both Zeus and Athena were jointly revered. Another possibility is that the altar served an independent ceremonial purpose. Unlike temples, which invariably housed altars, altars themselves did not invariably necessitate temples. They could vary in scale, from relatively modest to monumental, like the Pergamon Altar. The limited remnants of inscriptions offer insufficient insight to definitively ascertain the deity to whom the altar was dedicated. Presumably in the 2nd century, the Roman Lucius Ampelius recorded in his Liber Memorialis: “At Pergamum there is a great marble altar, 40 feet (12 m) high, with colossal sculptures. It also shows Gigantomachy.” Besides a comment by Pausanias, who compares sacrificial practice in Olympia with that in Pergamon, this is the only written reference to the altar in all of antiquity. The absence of written sources from antiquity about the altar has given rise to a number of interpretations. One possibility is that the Romans did not regard this Hellenistic altar as important since it did not date from the classic epoch of Greek, especially Attic, art. Only this art and later evocation of the associated values were considered significant and worth mentioning. This view was held particularly by German researchers starting in the 18th century, especially after the work of Johann Joachim Winckelmann became known. The only graphic representations of the altar are on coins of the Roman Empire, which show the altar in a stylized form. Since a reassessment of the perception and interpretation of antiquities dating from other than “classical” periods took place in the course of the 20th century, it is undisputed that the great altar of Pergamon is one of the most significant works, if not the apex, of Hellenistic art. Finally, with the rise of Christianity, the altar, referred to as “the throne of Satan,” ceased to serve its purpose, likely during Late Antiquity. By the 7th century, the acropolis of Pergamon underwent extensive fortification efforts to defend against Arab invasions. During this period, the Pergamon Altar, along with other structures, suffered partial destruction to facilitate the reuse of building materials. Despite these defensive measures, the city succumbed to Arab forces in 716, albeit temporarily, before being deemed insignificant and abandoned. It wasn’t until the 12th century that the city was resettled. Subsequently, in the 13th century, Pergamon fell under the control of the Turks.