that there was an older and a younger sculptor generation at work, which makes the coherence of the entire frieze all the more remarkable. Considering the 2.7 meter distance between the existing signature and the associated έπόησεν inscription (έπόησεν – "made it"), it is suspected that there was possibly another sculptor's signature in this space. If that is the case, an extrapolation suggests at least 40 participating sculptors. The front side of this risalit was signed by two sculptors, but their names did not survive. The golden ratio application A study by Patrice Foutakis investigated whether the ancient Greeks employed the golden ratio in their architecture. For this purpose, the measurements of 15 temples, 18 monumental tombs, 8 sarcophagi and 58 grave stelae were examined, going from the fifth century BC until the second century AD. Foutakis found that the golden ratio was totally absent from Greek architecture of the fifth century BC, and almost absent for the following six centuries. Four rare examples of golden-section proportions were identified through this research in a tower, a tomb, a grave stele and in the Great Altar of Pergamon. On the two frontal parts of the frieze facing the observer standing in front of the monument, the height to length ratio is 2.29 m to 5.17 m, that is 1:2.25, the ratio of the Parthenon. The city of Pergamon was on excellent terms with Athens, its kings venerated Attic art and offered gifts to the Parthenon, and both cities had the same goddess, Athena, as a protector. The temple of Athena Polias Nikephoros in Pergamon, a few meters away from the Great Altar, also had a copy of the chryselephantine statue of Athena made by Phidias for the Parthenon. The two columned constructions flanking the frontal staircase of the Great Altar have the shape of two Ionic temples. The proportions of each of these temples are: width of the stylobate 4.722 m to length of the stylobate 7.66 m, ratio 1:1.62; height with the entablature 2.93 m to width of the stylobate 4.722 m, ratio 1:1.61. When the visitor came up to the top of the staircase and went through the portikon columns, he entered an interior court measuring, within the colonnade surrounding the court, 13.50 m wide by 21.60 m long, ratio 1:1.60. In other words, according to Foutakis, the artists of this Altar wanted the spectator standing on the axis