Earlier versions of the altar were leveled in Pergamon, and to enhance the utility of the acropolis several terraces were laid out.
The path connecting the lower part of the town with the acropolis led directly past the self-contained and now extended sacred altar area, which could be accessed from the east.
Thus visitors in antiquity first saw the frieze on the eastern face of the altar, on which the chief Greek gods were portrayed.
First, at the right (northern) side of the eastern frieze, Hera, Heracles, Zeus, Athena and Ares were shown engaged in battle.
In the background to the right there was not only the wall of another terrace, presumably containing many statues; the visitor also viewed the simple Doric Athena temple which had been erected 150 years earlier on the terrace above.
The western side of the altar with the stairway was in alignment with the Athena temple, despite the elevation difference.
It was probably the case that the altar arose in direct relationship to the redesigning of the acropolis and was to be regarded as a primary, new construction and votive offering to the gods.
In its freely accessible arrangement the altar was conceived so that visitors could walk around it.
This inevitably led to further intended lines of sight.

The shape of the altar was almost a square.
In this respect it followed Ionic models, which specified a wall enclosing the actual sacrificial altar on three sides.
On the open side the altar could be accessed via a stairway.
For cultic reasons such altars were usually oriented toward the east so that those bringing sacrifices entered the altar from the west.
The Pergamene altar follows this tradition, but to a truly monumental extent.
The huge, almost square base was 35.64 meters wide and 33.4 meters long and included five steps surrounding the entire structure.
The stairway on the western side is almost 20 meters wide and intersects with the lower level, which itself is almost six meters high.
The core of the foundation is composed of intersecting tuff walls arranged like a grating, which increased earthquake stability.
This foundation is still preserved and can be examined on site in Pergamon.
The upper visible structure consisted of a pedestal, a frieze of slabs 2.3 meters in height with high relief scenes, and a thick, projecting cornice.
Grey-veined marble from the island of Marmara was used, which was typical for Pergamon.
In addition to the Proconnesian marble of the large frieze, the Telephus frieze and the foundation, darker marble with recognizable fossil inclusions was also used for the base; it came from Lesbos-Moria.

The frieze is 113 meters long, which makes it the longest surviving frieze of Greek Antiquity after the Parthenon frieze.
On the western side it is interrupted by the ca.
20 meter wide stairway, which cuts into the foundation on that side and leads to a superstructure with columns.
On both sides of this stairway there are projections constructed and decorated in a manner similar to the rest of the encircling frieze.
The three-wing superstructure is relatively narrow compared with the base.
The pillars surrounding the superstructure have platforms with profiles and Ionic capitals.
There are many statues on the roof: a quadriga of horses, lion griffins, centaurs and deities, as well as uncompleted gargoyles.
The upper hall gives a spacious impression thanks to the widely spaced columns.
An additional columned hall was also planned for the inner courtyard where the fire altar itself was located, but not implemented.
A frieze was installed there at eye level depicting the life of the mythical founder of the city, Telephus.
Although no remains of paint have been found, it can be assumed that the entire structure was brightly painted in antiquity.
Earlier versions of the altar were leveled in Pergamon, and to enhance the utility of the acropolis several terraces were laid out. The path connecting the lower part of the town with the acropolis led directly past the self-contained and now extended sacred altar area, which could be accessed from the east. Thus visitors in antiquity first saw the frieze on the eastern face of the altar, on which the chief Greek gods were portrayed. First, at the right (northern) side of the eastern frieze, Hera, Heracles, Zeus, Athena and Ares were shown engaged in battle. In the background to the right there was not only the wall of another terrace, presumably containing many statues; the visitor also viewed the simple Doric Athena temple which had been erected 150 years earlier on the terrace above. The western side of the altar with the stairway was in alignment with the Athena temple, despite the elevation difference. It was probably the case that the altar arose in direct relationship to the redesigning of the acropolis and was to be regarded as a primary, new construction and votive offering to the gods. In its freely accessible arrangement the altar was conceived so that visitors could walk around it. This inevitably led to further intended lines of sight.
The shape of the altar was almost a square. In this respect it followed Ionic models, which specified a wall enclosing the actual sacrificial altar on three sides. On the open side the altar could be accessed via a stairway. For cultic reasons such altars were usually oriented toward the east so that those bringing sacrifices entered the altar from the west. The Pergamene altar follows this tradition, but to a truly monumental extent. The huge, almost square base was 35.64 meters wide and 33.4 meters long and included five steps surrounding the entire structure. The stairway on the western side is almost 20 meters wide and intersects with the lower level, which itself is almost six meters high. The core of the foundation is composed of intersecting tuff walls arranged like a grating, which increased earthquake stability. This foundation is still preserved and can be examined on site in Pergamon. The upper visible structure consisted of a pedestal, a frieze of slabs 2.3 meters in height with high relief scenes, and a thick, projecting cornice. Grey-veined marble from the island of Marmara was used, which was typical for Pergamon. In addition to the Proconnesian marble of the large frieze, the Telephus frieze and the foundation, darker marble with recognizable fossil inclusions was also used for the base; it came from Lesbos-Moria.
The frieze is 113 meters long, which makes it the longest surviving frieze of Greek Antiquity after the Parthenon frieze. On the western side it is interrupted by the ca. 20 meter wide stairway, which cuts into the foundation on that side and leads to a superstructure with columns. On both sides of this stairway there are projections constructed and decorated in a manner similar to the rest of the encircling frieze. The three-wing superstructure is relatively narrow compared with the base. The pillars surrounding the superstructure have platforms with profiles and Ionic capitals. There are many statues on the roof: a quadriga of horses, lion griffins, centaurs and deities, as well as uncompleted gargoyles. The upper hall gives a spacious impression thanks to the widely spaced columns. An additional columned hall was also planned for the inner courtyard where the fire altar itself was located, but not implemented. A frieze was installed there at eye level depicting the life of the mythical founder of the city, Telephus. Although no remains of paint have been found, it can be assumed that the entire structure was brightly painted in antiquity.
Pergamon Altar