Martin explained that the physical proportions of the Iron Throne in the books, as well as the throne room it is set in, are simply unfilmable due to their massive size. The throne room in the books is the size of St. Peter's Basilica at the Vatican, and the Iron Throne itself towers over forty feet in height. The book version of the Iron Throne actually does contain a thousand swords, taken from Aegon the Conqueror's fallen enemies, and the visual symbol of subsequent Targaryen kings who sat atop that many swords of vanquished foes was a truly awesome sight to behold.
Even the actual seat where the king sits is located over twenty feet off of the ground, and needs to be reached by an entire flight of stairs. The Iron Throne is so large that it is physically impossible to move it.
Aegon I eventually decided to raze the boomtown that had grown up around the site of his army's landing camp, a ramshackle town of wood and earth called "The Aegonfort", so that he could start over from scratch and construct a more permanent new capital city, King's Landing. The Red Keep itself and the throne room had to be built around the preexisting Iron Throne.
The construction took many years and would continue long after his death, so in the meantime, he relocated the royal court to his ancestral castle on Dragonstone. It was impossible to move the Iron Throne, however: when Aegon I died his son and successor Aenys had to travel to the unfinished construction site of King's Landing to be crowned on the Iron Throne, before then moving back to Dragonstone.
This is also why no one ever tried to steal the Iron Throne and take it elsewhere during civil wars, i. Moreover, Martin made the point that the Iron Throne in the books was hammered together by blacksmiths, not sculptors and artisans, so it does not fit together neatly: rather, it is a sprawling and twisting asymmetrical stack of swords welded together into a vague throne-shape and towering into the air.
Aegon the Conqueror did "build" the Iron Throne in that he commissioned it, and more specifically in that he used the fire of his dragon Balerion to melt down the swords and make them malleable, after which the blacksmiths would take them and add them to the growing construct. Martin was nonetheless entirely sympathetic to the practical necessities faced by the TV production team: the throne room as he envisioned it may be the size of St.
He acknowledged that the book version of the Iron Throne is so massive it would have difficulty fitting in any set, and even if it did, it might visually detract from the drama for the king to be holding conversations with people on the ground a full forty feet away from him. Martin also stated that he actually very much enjoys the design used for the Iron Throne in the TV series - it simply would have been physically impossible to replicate the towering edifice he described in the books.
In , Martin pointed out a painting by Marc Simonetti see at right as coming closer than any previous artwork to what the Iron Throne and the throne room look like as Martin envisions them in the books.
The Queen declined an invitation to sit upon the actual Iron Throne prop, although she was photographed inspecting it and other props from the series. Weiss agreed that this seemed odd because the prop is a fictional throne for a fictional kingdom. A Season 4 blooper reel revealed that during the trial scene in " The Laws of Gods and Men ", Charles Dance Tywin gripped the pommel of one of the swords making up the Iron Throne so hard because Tywin is angry that it accidentally snapped off - he then looked down at it in his grip and swore, embarrassed that he had just broken the Iron Throne prop.
Game of Thrones Wiki. Game of Thrones Wiki Explore. For deities, they also became associated as seated figures who resided in special houses or temples.
Sometimes these deities were represented as statues placed in a niche but often they were also represented as seated figures who sat on a throne of authority.
In particular, deities associated with monarchs, such as the sun god, were more typically seated, where they would be shown imparting wisdom on rulers to govern their people. This concept is also in the Bible, where Yahweh is described as seated on a throne. What is telling about thrones is that they were common as soon as regions began to develop the idea of kings and royal authority.
Few other pieces of furniture became so common throughout much of the ancient world. In ancient China, chairs were classified and associated with classes of people who could sit on certain chairs. Thrones in China, like many other regions, began to be named, with the latest name used was the Dragon Throne, where the name lasted until the last Qing Dynasty emperor in the early 20th century.
In India, the ancient name for the throne was the seat of the lion. Similar to China, it was intricately decorated and was only associated with royal authority. Europe's oldest throne room is found at the palace of Knossos Figure 1 , a city in Crete that existed in the 2nd millennium BCE. Similar to the ancient Near East, the idea of a throne room was also meant to not only have the raised chair and platform where the king would receive people but wall decorations of griffins, which also became symbols of protection of royal power in the Mediterranean and stretching to Central Asia, began to be prominently displayed.
Such mythical symbols continued into modern eras as symbols of protection, often for the state. At Knossos, the throne also was surrounded by benches, which were possibly used by the king's council. Thus, thrones and the throne room also began to symbolize a type of court where council would be given to the king.
Later, the idea of a parliament retained this idea, where a king would receive council sitting on a raised throne. Thrones were also independently used in the New World. Aztec gods, such as Ehecatl, were shown as seated on thrones.
An elaborate throne in Tenochtitlan was found, called the throne of Montezuma Figure 2 , which was used for religious and royal ceremony. The Aztec king likely sat on it to perform his religious duties where he made contact with the earth and sun, acting as the sacred guardian of both these important symbols of religious authority.
Taking the idea of royal and religious thrones, when Christianity developed it was seen that both high priests, such as bishops or the pope, had authority to sit on thrones as well as kings.
Throne chair used at the coronation of Queen Anne , Thomas Roberts. Courtesy Hatfield House. The coronation in was, of course, the most solemn of occasions, imbued with ancient traditions with only a few elements, such as the yellow-green carpet and the presence of large television cameras, giving away that it was the s , but by no means was it to be unnecessarily ostentatious given the climate of post-war austerity.
The right balance had to be struck. Three 20th-century coronation thrones preceded that of the Queen: while the pair made for Edward VII and Queen Alexandra in presents a typically eclectic Edwardian mix of gothic and baroque forms and ornament, George V and George VI went for chairs in the traditional Tudor and Stuart style.
The House of Windsor is the only sovereign family in Europe that continues the tradition of coronations for which the Royal Household commissions new thrones, while other dynasties opt for lower-key investitures or proclamations. The kings and queens of the Netherlands, for instance, mostly reuse armchairs already in their collection, merely having them recovered for the occasion; their simplicity and human scale except perhaps for the throne used by King William III in and his daughter Queen Wilhelmina in distinctively contrast with the masterpieces of Dutch craftsmanship that were the highly elaborate chairs of the 17th- and 18th-century stadtholders, some excellent examples of which are newly displayed at the Rijksmuseum.
The Swedes, in turn, continue to employ what is arguably the most important baroque throne chair to survive. Charles III of Spain also took inspiration from abroad, particularly when it came to art and architecture.
Its opulent throne chair, created by the Neapolitan carver Gennaro di Fiore to the designs of Giovanni Battista Natali, bears a medallion with the profile of the rococo monarch. Game of Thrones.
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