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TH E COLO55U5 Imperial Throne but by This Time, in This Most Christian City, the Ancient Face Was Called the Face of Christ

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TH E COLO55U5 Imperial Throne but by This Time, in This Most Christian City, the Ancient Face Was Called the Face of Christ THE SEVEN WONDERS OF THE WORLD another, the statue always seems to have been recognized as a portrait ofgod; latterly' Chapter z and most signi6cantly for its survival, of the god who ratifred the roles of emperors and kings on earth. In Rome, the Emperor Nero had an image of the Zeus, called by its Roman name of Jupiter the Thunderer, painted on the domed ceiling of the throne room of his palace. Later, in Constantinople, another Portrait was similarly placed above the TH E COLO55U5 imperial throne but by this time, in this most Christian city, the ancient face was called the face of Christ. l¿usus' importation of the original of this imperial icon allowed artists to copy its features anew, and place them, just as the Zeus was placed in the apse of OF RHODES Lausus' sculpture gallery, high up in a thousand churches. Sometimes the Christ/Zeus still sat upon his jewelled throne as he had done at Olympia, sometimes only the head and shoulders were drawn out, but always he had those same distinctive features. 'In the painting,'wrote John of Damascus earþ in the eighth century, 'he divided the hair into IMA6E AND TRADITION a parting so that his face should not be hidden. For this was the way that the Greeks painted Zeus.' ()ohn of Damascus, de Imaginíbus Oratio,Irr, 387). Rhodes is an island in the sea. It had been hidden below the sea for a long time, but then The use of this pagan image as the face of Christ raised many a dark eyebrow amongst Helios revealed it, and requested ofthe gods that the new island be his own. On this island the guardians of the faithful, and a miraculous tale, complete with the necessary Gospel stands a Colossus, one hundred and twenty feet high and representing Helios. The statue parallels, was summoned to explain how this had come to pass. As James Breckenridge, is recognizable as being of Helios because it has his distinctive features . Perhaps Zeus the scholar who 6rst laid out the details of the story, tells it: 'It was just at this time that poured down marvellous wealth on the Rlodians precisely so that they could honou¡ Helios there originated a legend which has long intrigued historians of Christian art. In the time in spending it on the erection ofthe statue ofthe god, layer upon layer, from the ground of Archbishop Gennadius, who was patriarch of Constantinople from 45E to 47\ a cer up to the heavens . Little by little he [the sculptor] reached the goal ofhis dream . he tain painter made an icon, at the instigation ofa pagan, portraying Christ in the likeness made his god equal to rhe god. He produced a work outstanding in its boldness, for on the the painter's hand and arm withered in consequence of his blasphemous act, of Zeus; world he set a second Helios facing the first. but he was healed miraculously through the intercession of Gennadius-'Thus, the image ofZeus received divine sanction for a second time. Philo 4, r; + z;4,6 Today, as you stand in one ofthe great Eastern churches, peering up into the dome, it is diffrcult at flrst to see how Pheidias' ivory face could have ever become the dark- The eponymous capital ofone ofthe larger Greek islands, Rhodes has two main har- eyed soul-raker of Byzantium. Then you remember rare images of Zeus'head with its bours; a commercial port, and a smaller one, used nowadays by frshermen and yacht straight nose and centrally parted hair. And you see the metamorphosis: see bow owners. These harbours are divided by a mole running at an angle to the ancient coast- Pheidias'calm Zeus was shot through with the light ofheaven and the 6res ofhell, to line. Ancient block in its foundations show that this mole was a part of the first plan of haunt us as the face of Christ, sining in judgement. the ancient city, a symmetrical extension of the regular net of roads laid out on the slopes above the bay. Co-founded by three older towns in 4o8 ac, this purpose built city was an entire success. At the heart ofthe ancient sea lanes ofthe eastern Mediterranean, the island city soon established itself as a major trading port, commanding substantial fleets of war ships, and was, as circumstances required, a powerful adversary or ally. The smaller ha¡bour, called Mandraki, the sheep fold, was a renowned shipyard; the larger harbour served as an emporium between Europe and the East. Ove¡ the millenia, the rich haven attracted the attentions of a succession ofambitious invaders. It was taken by Arab armies at the ending of antiquity, retaken by the Byzantines and then the Genoese. For two bloody and embattled centuries, Rhodes served as the grim fortress of the Knights Hospitaller, a crusading order frorn Western Europe, until in r5zz it sur- rendered to the Turkish armies. And all this time, the city was haunted by the sovereign Christ Pantærator, the mosic in thc dome of the church at Daphni by Athens' c' ro ttoo image of its ancient statue. THE SE\/EN WONDERS OF THE \^¡ORLD THE COLOSSUS OF RHODES Why, man, he doth best¡ide the narrow world Like a Colossus; and we petty men Walk under his huge legs, and peep about . se)rs Shakespeare's conspiratorial Cassius. Bastard Margarelon Has Doreus prisoner, And stands Colossus-wise waving his beam, Upon the pashed corpses of the kings . shouts his Renaissance Agamemnon in a ca.ll to arms at the siege of Tro¡ and paints with his single striding figure, spear in hand, the enduring mediwal image of this island city and is embattled lGights, defending its trading harbour and its most Christian city from the terrifying Turk. No trace ofthe Colossus, that symbol ofthe ancient Rhodians'wealth and verve, has ever been discovered. Traditionally, it was said to have stood above the harbour called Mandraki, where today the city's history is celebrated, albeit in strong Italian accents, in diverse buildings that stand around the little harbour. (In the years before the First World War, Rhodes was occupied once more by Italian armies and later'restored' by Il Duce's administrators, in the manner of a frlm set, as a holiday home for their king.) The Colossus, it was said, looked out to sea, a solitary male 6gure whose legs bridged the har- bour entrance, with one foot planted on the land and the other on the seaward ending of the ancient mole where nowadays there sits a small round fortress of the Knights Hospitaller, restored too by the island's last ltalian occupiers. Along with Pheidias'Zeus, the visual image of a giant stâtue bestriding the harbour entrance is one ofthose rare conceits whose beginnings are precisely known. In the The ñrst image of thc striding Colosus: lean Cousin's woodcut publ¡shcd in Th *ct's ùsmographie dc dec¿de before Shakespeare was born, a French artist, Jean Cousin the Younger, made z4 Ldsnt, L,loî, rr',6 engravings to decorate a four-volume book, Cosmographíe de Izvantby theFrench geo- grapher André Thevet. Toda¡ such books as these are little known or used. Yet for cen- and many travellers recorded it. Pictures of the city-fortress of the lGights show its main turies afte¡ their publication they were standard works in the libraries of the universities harbour enclosed by two moles with round fortresses upon them, a chain or wooden and noble houses ofEurope, a standard source ofknowledge before the age ofthe ency- bridge blocking the harbour to the Turks. Niccolò di Martoni, a pilgrim lawyer from clopedia. A German edition of the Cosmographie, complete with the original plates, was Capua in southern ltaly, wrote down the first recorded version ofthe tale ofthe strid- issued some 60 years after the French originah the latter being still in use by English ing Colossus in 1394-5, adding the information that in his time, the site of the statue's scholars a century or more after its first release. In those days, knowledge took a long right leg, at the ending of the harbour mole, was marked by a small round church called time to go out of date and books like Thevet's, compilations of new and ancient knowl- St John of the Colossus. Over the following century, this account was followed by vari- edge, had wide and lasting influence. Thevet's work, for example, gave the English lan- ations of the same tale told by several other people such as a German monk from Ulm guage the words yamand toucan. A¡d his illustrations also gave the West its traditional called Brother Felix, an anonymous Florentine merchant, a Venetian scholar named image of the Rhodian Colossus. Britannico and the learned traveller Cristophoro de'Buondelmonti, who had not only The idea for this illustration of the openlegged statue came from the rePorts of trav- visited the city in the decades after di Martoni, but also found a Rhodian tale'in a Greek ellers, espccially from pilgrims who had used the fortress of the Hospitallers of Rhodes book, of an idol of brass, which had in the middle of its chest a great shining mirror as a safe haven on their journey to and from the Holy tand. In the shelter of the Rhodian which showed to those who looked, ships which had come from Eg¡ryt'. Thevet, who walls, the image of the giant, protecting statue astride the harbour gates was a talisman, collected the greater part ofthe information for his books from just such diverse sources 26 THE COLOSSUS OF RHODES THE SE\/EN WONDERS OF THE WORLD wearing turbans and wielding curved swords.
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