So far we have seen ancient influences on the use of molten metal, battlefield tactics, the burning of a daughter in search of divine favour and the role of a woman, her actions and fate in sparking a decades-long struggle across two continents. In this the fifth entry in GoTAH, we will look at an ancient structure and its counterpart in G.R.R. Martin’s world of Ice and Fire, both on screen and in the book series.
There is a more prominent anciently-inspired structure – the 800-foot tall Wall and that of the emperor Hadrian in the north of England (and we will almost certainly return to that connection in a later instalment), but instead we will cross the Narrow Sea from Westeros to the northernmost of Essos’ Nine Free Cities, Braavos.
There are numerous interesting aspects to this city such as it having been founded by runaway slaves from Valyria, keeping its existence secret for 111 years, home to the most dangerous sect of assassins, the Faceless Men, and equally dangerous Iron Bank many of which have inspirations from ancient, medieval and modern history.
However, as the video and map above suggests, the most recognisable structure in Braavos looms over the entrance to the lagoon – the Titan of Braavos.
The magnificent structure was so revered in the world of A Song of Ice and Fire that it appeared in the pages of Lomas Longstrider’s Wonders Made By Man, a status which also echoes the position of its inspiration as one of the ‘Seven Wonders of the World’ – the Colossus of Rhodes.
(Although it could not have been one of the ‘original’ wonders if the fifth century BC historian Herodotus compiled the earliest known version of what would become the ‘Seven Wonders of the World’, given that the Colossus was not built until the third century BC. A similar problem is faced by the Mausoleum of Halicarnassus and the Lighthouse of Alexandria, while the Statue of Zeus at Olympia was completed during Herodotus’ lifetime.).
A statue of the god of sun, Helios, (something reflected in the name ‘Titan’, which was the second generation of divine beings in Greek mythology, overthrown by the Olympian deities under the leadership of Zeus) the Colossus is usually depicted as having stood astride the entrance to the harbour, although this appears to be a medieval misconception, perhaps deriving from a misinterpretation of the dedication of the statue, which mentions “Not only over the seas but also on land” and “over sea and land” (Anthologia Graeca 4, 171 H). It has been suggested that the Rhodians, or anyone else for that matter, would not have been able to build a bronze statue with its legs apart as it would have collapsed under its own weight of bronze and stone ballast.
Another reason given for the Colossus not straddling the entrance of the Rhodian harbour, even if his legs could have held his weight, was due to sheer impracticality. To position it there would have required the closing of the harbour entrance throughout its erecting. Furthermore, given that the Colossus is recorded as having fallen over during the 226BC earthquake only 54 years after its dedication, had it been at the entrance of the harbour, it would have blocked it and the Rhodians lacked the ability to remove such an impediment for it to then lie visible on land for the next 800 years (Strabo XIV.2.5; Theophanes, Chron. AM6145 on it taking 900 camels to remove the ruins when it was sold to a Jewish Edessene merchant following the Arab conquest of Rhodes by Muawiyah I in the early 650s).
It is the misconception of the Colossus which has proven the inspiration for the Titan, although it could be argued that in devising the base of the Titan, G.R.R. Martin found a natural solution to the problem of a spread-legged statue being unable to support its own weight. Rather than a completely man-made structure, the lower half of the Titan was carved out of the black granite of a naturally occurring archway. The feet and legs of the Titan were shaped out of the pillars of the archway, while the top of the arch comprises his waist and lower torso. Above the waist, the Titan is bronze and to stabilise ‘him’, his empty left hand rests on top of the outcrop beside the archway.
It could be then that the inspiration for the Titan was not just the factual Colossus of Rhodes but perhaps also the fictional Argonath (Pillars of Kings) of Lord of the Rings, two enormous statues of Isildur and Anarion carved into the rock either side of the Anduin river on the northern border of Gondor (which also wield weaponry and show defiance for their enemies). This would be unsurprising given the overall inspiration of J.R.R.Tolkien’s Middle Earth on G.R.R.Martin’s A Song of Ice and Fire.
Another misinterpretation possibly from the Colossal dedication – “did they kindle the lovely torch of freedom and independence” (Anthologia Graeca 4, 171 H) – carried over into the popular view of the Colossus and subsequently to the Titan of Braavos – that Helios held aloft a torch like the Statue of Liberty in New York or at least held out his hand in some kind of gesture. This was almost certainly beyond the technological abilities of the ancients. A relief in a nearby temple shows Helios standing with one hand shielding his eyes and it is possible that the Colossus was constructed in the same pose. Taking its cue from this misconception, the Titan, rather than holding a torch, wields the hilt of a broken sword (whether broken by time or a symbolic gesture of defiance.
Unsurprisingly, in a world of fantasy, G.R.R. Martin had the Braavosi make something much more out of the Titan than the Rhodians were able to make out of the Colossus. At 400 feet, the Titan is about four times bigger than the original Rhodian Colossus (although as we will see below, there are plans for a near 500 foot version of the Colossus…). This difference in size is reflected in build time – the shaping of the Titan from the granite archway took three generations, while “it is said that it was twelve years before this statue [the Colossus] was completed.” (Pliny, NH XXXIV.18, 41) But even at this comparatively small stature, Pliny the Elder described the Colossus in suitably colossal proportions…
“Few men can clasp the thumb in their arms, and its fingers are larger than most statues. Where the limbs are broken asunder, vast caverns are seen yawning in the interior. Within it, too, are to be seen large masses of rock, by the weight of which the artist steadied it while erecting it.” Pliny, NH XXXIV.18, 41
Unsurprisingly, given their sizes, both the Colossus and the Titan became symbolic of their cities. The image of the Titan appears on Braavosi coinage, much like the god Helios, subject of the Colossus, appears on Rhodian coins. This depiction perhaps provides the only clear evidence we have about what part of the Colossus might have looked like as the depiction of Helios will have been something of a standard. If this was the case, then surviving coins suggest that the head of the Colossus will have had curly hair and worn a crown of sunbeams. Within the world of A Song of Ice and Fire, due to the recent Braavosi origins of the family, the sigil of House Baelish, formerly headed by Littlefinger, contains the fiery-eyed head of the Titan, displaying his bronze half-helm, and green-dyed rope hair.
The origin stories of both statues stem from acts of defiance in the face of a much larger foe. The Colossus was built to celebrate the resistance of Rhodes to the siege by Demetrius ‘Poliorcetes’ (‘the Besieger’), son and eventually successor of Antigonus I Monophthalmus in 304BC, and paid for by selling off the equipment left behind by the besiegers (300 talents worth as well as leftover metal from Demetrius’ force). The Titan was a symbol of the slaves who had escaped the Valyrian Freehold to found Braavos on the islands and lagoon of the north-westernmost point of Essos sometime between 700 and 1700 years before the events of A Game of Thrones.
While such towering structures will have had a psychological effect, it was only the Titan which had actual military applications. Any friend or foe looking to enter the Braavosi lagoon by sea had to pass under the Titan, who hides a few surprises under his green bronze skirt and in his chest… namely a collection of murder-holes and arrow slits from which various heavy or volatile missiles can be dropped onto or fired at anyone foolhardy enough to try to force entry into Braavos. The Titan’s body also contains numerous halls and chambers, making it not only a potential battle tower but also a garrison and storehouse. It is unsurprising then that bristling with so many projectiles, by the time of A Game of Thrones, it has been perhaps four centuries since anyone tried to defy the Titan’s wrath and force their way into the Braavosi lagoon.
The Titan is not just a defensive fortress. Its sheer height made it a useful lookout tower, letting out a loud ‘roar’ to warn the Arsenal of Braavos of approaching ships. This ‘roar’ is also used to herald the rising and setting of the sun and the hours of the day, effectively making it a clock. The eyes of the Titan are made from burning fires, allowing it to act as a beacon and effectively a lighthouse, lighting the way back inside the lagoon for returning ships or steering enemy ships on the rocks.
Perhaps inspired by the Titan of Braavos coming to prominence through the popularity of A Game of Thrones, in December 2015, a group of architects announced plans to build a new Colossus of Rhodes. Taking up the popular misconception that the original bestrode the harbour entrance, this new Colossus, at 500 feet tall, would be taller than the Braavosi Titan.
Also like the Titan, the new Colossus is to be multi-purpose, housing a cultural centre, a library, an exhibition hall, and a lighthouse, all to be powered by solar panels. And the modern equivalent of 300 talents and metal scrounged from Demetrius’ weapons? An estimated $283 million, to be raised through private donations and crowdsourcing.
Unsurprisingly, given the scale of the project, the Wondrous stature of its predecessor and the state of the Greek economy, the rebirth of Helios has yet to get off the ground.
Alston, R.H.J. ‘Rhodian coinage and the Colossus,’ Revue Numismatique 6 (1988), 75-90
Conrad, L.I. ‘The Arabs and the Colossus,’ JRAS 6 (1996), 165–187
Haynes, D.E.L. ‘Philo of Byzantium and the Colossus of Rhodes,’ JHS 77 (1957), 311-312
Martin, G.R.R., Garcia, E, and Antonsson, L. World of Ice and Fire: The Untold History of Westeros and the Game of Thrones. London (2014)
Maryon, H. ‘The Colossus of Rhodes,’ JHS 76 (1956), 68-86