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In architecture, a gargoyle is a carved or formed grotesque with a spout designed to convey water from a roof and away from the side of a building, thereby preventing rainwater from running down masonry walls and eroding the mortar between. Architects often used multiple gargoyles on buildings to divide the flow of rainwater off the roof to minimize the potential damage from a rainstorm. A trough is cut in the back of the gargoyle and rainwater typically exits through the open mouth. Gargoyles are usually an elongated fantastic animal because the length of the gargoyle determines how far water is thrown from the wall. When Gothic flying buttresses were used, aqueducts were sometimes cut into the buttress to divert water over the aisle walls.
The term originates from the French gargouille, which in English is likely to mean "throat" or is otherwise known as the "gullet"; cf. Latin gurgulio, gula, gargula ("gullet" or "throat") and similar words derived from the root gar, "to swallow", which represented the gurgling sound of water (e.g., Portuguese garganta, "throat"; gárgola, "gargoyle"). It is also connected to the French verb gargariser, which means "to gargle." The Italian word for gargoyle is doccione or gronda sporgente, an architecturally precise phrase which means "protruding gutter."
When not constructed as a waterspout and only serving an ornamental or artistic function, the correct term for such a sculpture is a chimera, or boss. Just as with bosses and chimeras, gargoyles are said to frighten off and protect those that it guards, such as a church, from any evil or harmful spirits.
Legend of La Gargouille
A French legend that sprang up around the name of St. Romanus ("Romain") (AD 631–641), the former chancellor of the Merovingian king Clotaire II who was made bishop of Rouen, relates how he delivered the country around Rouen from a monster called Gargouille or Goji. La Gargouille is said to have been the typical dragon with batlike wings, a long neck, and the ability to breathe fire from its mouth. There are multiple versions of the story, either that St. Romanus subdued the creature with a crucifix, or he captured the creature with the help of the only volunteer, a condemned man. In each, the monster is led back to Rouen and burned, but its head and neck would not burn due to being tempered by its own fire breath. The head was then mounted on the walls of the newly built church to scare off evil spirits, and used for protection. In commemoration of St. Romain, the Archbishops of Rouen were granted the right to set a prisoner free on the day that the reliquary of the saint was carried in procession (see details at Rouen).
The term gargoyle is most often applied to medieval work, but throughout all ages some means of water diversion, when not conveyed in gutters, was adopted. In Ancient Egyptian architecture, gargoyles showed little variation, typically in the form of a lion's head. Similar lion-mouthed water spouts were also seen on Greek temples, carved or modelled in the marble or terracotta cymatium of the cornice. An excellent example of this are the 39 remaining lion-headed water spouts on the Temple of Zeus. There were originally 102 gargoyles or spouts, but due to the heavy weight (they were crafted from marble), many have snapped off and had to be replaced.
Many medieval cathedrals included gargoyles and chimeras. The most famous examples are those of Notre Dame de Paris. Although most have grotesque features, the term gargoyle has come to include all types of images. Some gargoyles were depicted as monks, or combinations of real animals and people, many of which were humorous. Unusual animal mixtures, or chimeras, did not act as rainspouts and are more properly called grotesques. They serve more as ornamentation, but are now synonymous with gargoyles.
Both ornamented and unornamented water spouts projecting from roofs at parapet level were a common device used to shed rainwater from buildings until the early eighteenth century. From that time, more and more buildings bought drainpipes to carry the water from the guttering roof to the ground and only very few buildings using gargoyles were constructed. This was because some people found them frightening, and sometimes heavy ones fell off, causing damage. In 1724, the London Building Act passed by the Parliament of Great Britain made the use of downpipes compulsory on all new construction.
Gargoyles and the Catholic Church
Gargoyles were viewed in two ways by the church throughout history. The primary use was to convey the concept of evil through the form of the gargoyle, which was especially useful in sending a stark message to the common people, most of whom were illiterate. Gargoyles also are said to scare evil spirits away from the church, this reassured congregants that evil was kept outside of the church’s walls. However, some medieval clergy viewed gargoyles as a form of idolatry. In the 12th century St. Bernard of Clairvaux was famous for speaking out against gargoyles:
What are these fantastic monsters doing in the cloisters before the eyes of the brothers as they read? What is the meaning of these unclean monkeys, these strange savage lions, and monsters? To what purpose are here placed these creatures, half beast, half man, or these spotted tigers? I see several bodies with one head and several heads with one body. Here is a quadruped with a serpent's head, there a fish with a quadruped's head, then again an animal half horse, half goat... Surely if we do not blush for such absurdities, we should at least regret what we have spent on them.
According to Lester Burbank Bridaham, writing in Gargoylaes, Chimeres and the Grotesque in French Gothic Sculpture, "There is much symbolism in the sculpture of the Gothic period; but we must be wary of reading in too much meaning."
The ancient Egyptians, Greeks, Etruscans and Romans all used animal-shaped waterspouts. During the 12th century, when gargoyles appeared in Europe, the Roman Catholic Church was growing stronger and converting many new people. Most of the population at this time were illiterate, and therefore images were very important to convey ideas. In the medieval world many creatures had mystical powers attributed to them. Also, human qualities were sometimes ascribed to specific animals—that is, the animals were anthropomorphized. This was especially common for pagans, and using these ideas helped conversion to Catholicism. Some animals (such as the rhinoceros and the hippopotamus) were unknown in western Europe during the Middle Ages so gargoyles of these species (such as the ones at Laon Cathedral) are modern gargoyles and therefore did not have symbolic meaning in Medieval times.
Gargoyles on the spire of St. John the Evangelist Church in Attleboro, Massachusetts.]]
A gargoyle on the Basilica of the Sacré Cœur, Paris, France, showing the water channel
Gargoyle Notre-Dame d'Amiens, France
Notre Dame Church in Dijon, France
Gargoyle from Cologne Cathedral under reconstruction
Paisley Abbey gargoyle
- Architectural sculpture
- Grotesque in architecture
- Hunky Punk
- Sheela na Gig
- Nightmares in the Sky
- Janetta Rebold Benton (1997). Holy Terrors: Gargoyles on Medieval Buildings. New York: Abbeville Press. pp. 6–8. ISBN 0-7892-0182-8.
- Houghton Mifflin (2000). The American Heritage Dictionary of the English Language (4th ed.). Boston and New York: Houghton Mifflin. p. 725. ISBN 978-0-395-82517-4.
- Janetta Rebold Benton (1997). Holy Terrors: Gargoyles on Medieval Buildings. New York: Abbeville Press. p. 8. ISBN 0-7892-0182-8.
- Cipa, Shawn (2008). Carving Gargoyles, Grotesques, and Other Creatures of Myth: History, Lore, and 12 Artistic Patterns. Petersburg, PA: Fox Chapel Publishing Inc. ISBN 978-1565233294.
- Clarke, Somers; Engelbach, Reginald (1930). Ancient Egyptian Masonry: The Building Craft. The Book Tree. ISBN 1-58509-059-X.
- Dinsmoor, William Bell (1973). The Architecture of Ancient Greece: an account of its historic development. New York: Biblo and Tannen. ISBN 978-0819602831.
- Swaddling, Judith (1989). The Ancient Olympic Games. British Museum Press. ISBN 0-292-77751-5.
- "Holy Horrors". The National Trust Magazine: 66–68. Autumn 2007.
- Camille, Michael (2009). The Gargoyles of Notre-Dame: Medievalism and the Monsters of Modernity. Chicago, IL: University of Chicago Press. ISBN 0-226-09245-3.
- St Bernard of Clairvaux (1090-1153) (1963). "Apologia ad Guillelmum abbatem". In Leclercq, Jean; Rochais, H.M. Tractatus et Opuscula. S. Bernardi Opera 3. Rome, Editiones cistercienses.
- Bridaham, Lester Burbank, introduction by Ralph Adams Cram, Gargoylaes, Chimeres and the Grotesque in French Gothic Sculpture, Architectural Book Publishing Co., Inc. New York, 1930 p. xii
- Janetta Rebold Benton (1997). Holy Terrors: Gargoyles on Medieval Buildings. New York: Abbeville Press. p. 11. ISBN 0-7892-0182-8.
- Janetta Rebold Benton (1997). Holy Terrors: Gargoyles on Medieval Buildings. New York: Abbeville Press. p. 20. ISBN 0-7892-0182-8.
- Further reading
- Guide to Gargoyles and Other Grotesques (2003) Wendy True Gasch, ISBN 0-9745299-0-7
- The Stone Carvers: Master Craftsmen of the Washington National Cathedral (1999) Marjorie Hunt, ISBN 1-56098-829-0
- Mailands Monster / Milan's Monsters. Wasserspeier und Grotesken in Mailand / Gargoyles and Grotesques in Milan (2010) Regina E.G. Schymiczek, ISBN 978-3-8391-8256-7.
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