As is the case with most young dynasties, the Attalids sought to anchor their legitimacy with endowments and monumental construction projects.
The imposing altar accordingly had also a political dimension.

Up until the second half of the 20th century it had been assumed by some scholars that the altar was endowed in 184 BC by Eumenes II after a victory over the Celtic Tolistoagian tribe and their leader Ortiagon.
In the meantime, later datings relating the altar to archaeological findings and historical events are under discussion.
It is not imperative to connect the altar endowment with specific military events such as the Roman victories over Antiochos III in 184 BC in alliance with Eumenes II, or Eumenes II's own victory over the Galatians in 166 BC.
Investigation of the altar's construction and friezes has led to the conclusion that it was not conceived as a monument to a particular victory.
The design of Pergamene victory monuments is known from the literature and monument relics.
The most famous are Roman copies of bronze statues of the "Great Gaul", representations of defeated Celts after the victory of Attalos I over the Tolistoagians, or reliefs showing booty weapons from the halls of the Pergamene Athena sanctuary, which was dedicated by Eumenes II to the goddess who brought victory after the triumph over the Seleucids and their allies in 184 BC.

The Gigantomachy frieze on the outside walls of the Pergamon altar avoids to a great extent any direct references to contemporary military campaigns — except for the "Star of Macedonia" on the round shield of one of the Giants on the eastern frieze, or a Celtic oblong shield in the hand of a god on the northern frieze.
The struggle of the Olympian gods, supported by Heracles, the astrological deities governing the days and hours and originating in the ancient race of the Titans, personifications of the forces of war and fate, sea creatures, and Dionysus with his followers, appears much rather to be a cosmological event of general ethical relevance.
It can perhaps be interpreted in the sense of stoicism, and was certainly not designed without political considerations, as was the case with all artistic image metaphors depicting the struggle between the good and just principle — the Olympian gods and their helpers — and evil — the chaotic forces of nature in the form of the earthbound Giants.
The scanty remnants of the dedicatory inscription also seem to indicate that the altar was consecrated to the gods because of "favors" they had bestowed.
The divine addressees could be especially Zeus, father of the gods, and his daughter Athena, since they appear in prominent locations of the Gigantomachy frieze.
An important dating criterion is also the incorporation of the altar from the perspective of city planning.
As the most important marble edifice of the Hellenistic residence and indeed erected in a prominent position, it was assuredly not begun only at the conclusion of numerous initiatives to upgrade the acropolis of Pergamon under Eumenes II.

That events from the last years of Eumenes II's reign, the increasing uncoupling from the Romans, and the victory over the Celts in 166 BC at Sardis are reflected in the two friezes of the Pergamon Altar is merely speculation that does not provide a sufficient foundation for a late dating of the altar.
The inner Telephus frieze relates the legendary life of Heracles’ son Telephus and is meant to convey the superiority of Pergamon compared with the Romans.
Thus the founder of Rome, Romulus, was traditionally nursed only by a she-wolf, whereas Telephus, to whom the Attalids trace their ancestry, is shown in the frieze being suckled by a she-lion.
It is estimated that the frieze was constructed between 170 BC and at least the death of Eumenes II (159 BC).

One of the last suggestions for dating the construction of the altar comes from Bernard Andreae.
According to his findings, the altar was erected between 166 and 156 BC as a general victory monument commemorating the triumphs of the Pergamenes, and especially of Eumenes II, over the M
As is the case with most young dynasties, the Attalids sought to anchor their legitimacy with endowments and monumental construction projects. The imposing altar accordingly had also a political dimension.
Up until the second half of the 20th century it had been assumed by some scholars that the altar was endowed in 184 BC by Eumenes II after a victory over the Celtic Tolistoagian tribe and their leader Ortiagon. In the meantime, later datings relating the altar to archaeological findings and historical events are under discussion. It is not imperative to connect the altar endowment with specific military events such as the Roman victories over Antiochos III in 184 BC in alliance with Eumenes II, or Eumenes II's own victory over the Galatians in 166 BC. Investigation of the altar's construction and friezes has led to the conclusion that it was not conceived as a monument to a particular victory. The design of Pergamene victory monuments is known from the literature and monument relics. The most famous are Roman copies of bronze statues of the "Great Gaul", representations of defeated Celts after the victory of Attalos I over the Tolistoagians, or reliefs showing booty weapons from the halls of the Pergamene Athena sanctuary, which was dedicated by Eumenes II to the goddess who brought victory after the triumph over the Seleucids and their allies in 184 BC.
The Gigantomachy frieze on the outside walls of the Pergamon altar avoids to a great extent any direct references to contemporary military campaigns — except for the "Star of Macedonia" on the round shield of one of the Giants on the eastern frieze, or a Celtic oblong shield in the hand of a god on the northern frieze. The struggle of the Olympian gods, supported by Heracles, the astrological deities governing the days and hours and originating in the ancient race of the Titans, personifications of the forces of war and fate, sea creatures, and Dionysus with his followers, appears much rather to be a cosmological event of general ethical relevance. It can perhaps be interpreted in the sense of stoicism, and was certainly not designed without political considerations, as was the case with all artistic image metaphors depicting the struggle between the good and just principle — the Olympian gods and their helpers — and evil — the chaotic forces of nature in the form of the earthbound Giants. The scanty remnants of the dedicatory inscription also seem to indicate that the altar was consecrated to the gods because of "favors" they had bestowed. The divine addressees could be especially Zeus, father of the gods, and his daughter Athena, since they appear in prominent locations of the Gigantomachy frieze. An important dating criterion is also the incorporation of the altar from the perspective of city planning. As the most important marble edifice of the Hellenistic residence and indeed erected in a prominent position, it was assuredly not begun only at the conclusion of numerous initiatives to upgrade the acropolis of Pergamon under Eumenes II.
That events from the last years of Eumenes II's reign, the increasing uncoupling from the Romans, and the victory over the Celts in 166 BC at Sardis are reflected in the two friezes of the Pergamon Altar is merely speculation that does not provide a sufficient foundation for a late dating of the altar. The inner Telephus frieze relates the legendary life of Heracles’ son Telephus and is meant to convey the superiority of Pergamon compared with the Romans. Thus the founder of Rome, Romulus, was traditionally nursed only by a she-wolf, whereas Telephus, to whom the Attalids trace their ancestry, is shown in the frieze being suckled by a she-lion. It is estimated that the frieze was constructed between 170 BC and at least the death of Eumenes II (159 BC). 
One of the last suggestions for dating the construction of the altar comes from Bernard Andreae. According to his findings, the altar was erected between 166 and 156 BC as a general victory monument commemorating the triumphs of the Pergamenes, and especially of Eumenes II, over the M
Pergamon Altar