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When, in 1972, Kl. Stälher suggested to restore a quadriga to the centre of the Gigantomachia pediment, the idea appeared to be a good one and was generally well received. On the other hand, his conclusions regarding the chronology of the two works have not, so far, been convincing, for the following reason ; though the pediment of the Acropolis is indeed, as he correctly conjectured, practically contempory with the Alcmeonide pediments in Delphi, and reflects, as they do, the political intentions of the circle of Clisthene, the obvious contrast between the two styles is extremely difficult to explain. When all is said and done, the Athens of the Pisistratides seems to be the only plausible setting for this work, carved by an innovating artist attracted to Ionian models and whose research is strongly reminiscent of the first red figure artists.

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