the struggle between Athena and Poseidon on the western pediment of the Parthenon. Such allusions are not accidental since Pergamon considered itself to be something like a reborn Athens. The frieze on its part also influenced later works of classical antiquity. The most famous example is the Laokoon Group mentioned above, which was created about twenty years after the Pergamon relief, as Bernard Andreae could show. The artists who produced the statue group were in the direct tradition of the creator of the relief, or may indeed even have participated in crafting the frieze. The artists Long discussed but so far unresolved is the question of how many artists participated in producing the Gigantomachy. Just as disputed is the extent to which the character of individual artists can be identified in this work of art. There is agreement that at least the basic design of the frieze was the work of a single artist. In view of its consistency down to the level of details, the plan must have been worked out to its smallest elements; nothing had been left to chance. Already in the arrangement of the fighting groups it can be noted that each group is unique and, for example, that the hairstyle and the footwear of the goddesses always differ. Each of the pairs of fighters is individually arranged. Thus, the figures in themselves reveal their distinctive character rather than this being the result of the artists' personal styles. Although scholars have certainly ascertained differences that can be attributed to individual artists, given the coherence of the whole frieze it is remarkable that these differences are almost irrelevant when the work is viewed in its entirety. According to this interpretation, artists from all over Greece deferred to the plans of a single artist with overall authority. This is substantiated, for example, by the inscriptions of artists from Athens and Rhodes. The sculptors were permitted to sign their sections of the frieze on the lower molding, but only a few such inscriptions have been found. Thus no conclusions can be drawn about the number of participating artists. Only one inscription on the south risalit survived in a manner which permitted attribution. Since there is no lower molding at that location, the name, Theorretos (ΘΕΌΡΡΗΤΟΣ), was chiseled into the marble near the portrayed god. When analyzing the various inscriptions it could be determined on the basis of the typeface