Gargoyles, iconic figures of Gothic cathedrals, both fascinate and intrigue. While their primary function is to channel rainwater away from buildings, their symbolic significance goes far beyond mere practicality. They serve a dual purpose: repelling malevolent influences while ridiculing evil forces and human vices.
More than just frightening figures, they mock the devil and denounce the world’s moral failings. They echo the biblical tradition of satirising false beliefs, particularly the episode of the prophet Elijah mocking the priests of Baal in 1 Kings 18:27. When the priests desperately call upon their god to send fire upon their altar, Elijah taunts them, suggesting that Baal might be asleep or preoccupied elsewhere. This biting irony highlights the powerlessness of false gods compared to the might of the God of Israel.
In the same way, gargoyles, with their grotesque extravagance, ridicule evil, demons, and the vices they embody. They are not merely the whimsical creations of stonemasons; they have a clear pedagogical and symbolic function. The argument that they were merely artistic whims is unconvincing: these sculptures required significant time and resources, making it unlikely that Gothic cathedral builders would have included them without a specific purpose.
A Moral Message Reinforced by Preachers
Dietmar Rabich / Wikimedia Commons / “Köln, Hohe Domkirche St. Petrus — 2014 — 1797” / CC BY-SA 4.0
The frequent mention of gargoyles in medieval sermons confirms their role as part of a structured moral discourse. Several medieval preachers referenced them in their teachings. For example:
Étienne de Bourbon recounts the story of a usurer being killed by the fall of a stone purse held by a gargoyle. This tale reflects a widely accepted belief: these sculptures were not mere ornaments, but agents of divine judgement.
John Bromyard, a 14th-century preacher, compared idle clergy to gargoyles: “They open their mouths, but say nothing.” Here, even ecclesiastical criticism is conveyed through the imagery of gargoyles, demonstrating that they were recognised as moral symbols.
The frequent references to gargoyles in medieval sermons suggest that they were not seen as mere decorative flourishes. Their presence on religious buildings was an intentional tool for teaching and theological reflection.
A Wide Variety of Forms and Messages
Gargoyle Notre-Dame d’Amiens, France. Photo by Raminagrobis / Wikimedia Commons
Gargoyles come in various forms, each with its own distinct meaning:
Animal gargoyles: Predominantly featured in the 13th century, they often depict lions, dogs, or dragons—figures drawn from Christian bestiaries. Their symbolic role is clear: these often terrifying creatures act as guardians of sacred spaces, keeping evil at bay.
Monstrous and hybrid gargoyles: These evoke hellish creatures and chaos, blending human and animal traits to embody demonic forces.
Human gargoyles: Appearing later, they often depict immoral behaviour—such as drunkenness, greed, and lust—serving as a mirror reflecting society’s vices. Some are even linked to biblical narratives, such as those at Notre-Dame de l’Épine, where a man overpowering a lion symbolises Samson, and a woman accompanied by a serpent alludes to Eve’s temptation.
The Power of the Grotesque: Between Fear and Ridicule
Grinning gargoyles at St Michael & All Angels Church, Hathersage, in the Peak District. Photo by Arte de Cade / Flickr
One of the most striking aspects of gargoyles is their exaggerated grotesqueness, which blends fear with comedy. This duality strengthens their didactic role: by making evil laughable, they expose and diminish it.
Some sculpted figures adopt overtly obscene postures—such as animals with exaggerated sexual features or humans exposing themselves in provocative ways. Contrary to modern perceptions, these images were not mere expressions of artistic licence. Since antiquity, sexual imagery has been used to ward off evil spirits, and medieval society also produced many profane amulets with erotic imagery, believed to protect their wearers against malign forces.
Over time, the emphasis on fear of demons evolved into a more nuanced approach, where mockery became a weapon against evil. Since antiquity, people have believed that making demons laugh weakens them. Thus, gargoyles were not just ornaments; they were active participants in Christian pedagogy, subverting the devil through ridicule.
Guardians of Stone with a Multifaceted Purpose
Gargoyles are far more than decorative elements or architectural curiosities; they are sculpted manifestos against evil, combining satire, mockery, and moral warning. Rooted in a biblical tradition of ridiculing false beliefs, they expose and mock sin, demons, and human failings.
Their presence on cathedrals was neither gratuitous nor insignificant. Medieval preachers integrated them into their moral discourse, proving that they were a genuine tool of visual catechesis. If they had been merely “stonemasons’ whims,” it would have been absurd to dedicate so much time and expense to them.
Thus, gargoyles serve both protective and critical functions, being terrifying yet humorous, embodying a theology of the grotesque where evil is repelled not only by fear but also by laughter.
Ultimately, their message is clear: evil is absurd, grotesque, and worthy of ridicule—for it is nothing compared to divine power.
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon. Click here to view his website.
By Lorris Chevalier
Gargoyles, iconic figures of Gothic cathedrals, both fascinate and intrigue. While their primary function is to channel rainwater away from buildings, their symbolic significance goes far beyond mere practicality. They serve a dual purpose: repelling malevolent influences while ridiculing evil forces and human vices.
More than just frightening figures, they mock the devil and denounce the world’s moral failings. They echo the biblical tradition of satirising false beliefs, particularly the episode of the prophet Elijah mocking the priests of Baal in 1 Kings 18:27. When the priests desperately call upon their god to send fire upon their altar, Elijah taunts them, suggesting that Baal might be asleep or preoccupied elsewhere. This biting irony highlights the powerlessness of false gods compared to the might of the God of Israel.
In the same way, gargoyles, with their grotesque extravagance, ridicule evil, demons, and the vices they embody. They are not merely the whimsical creations of stonemasons; they have a clear pedagogical and symbolic function. The argument that they were merely artistic whims is unconvincing: these sculptures required significant time and resources, making it unlikely that Gothic cathedral builders would have included them without a specific purpose.
A Moral Message Reinforced by Preachers
The frequent mention of gargoyles in medieval sermons confirms their role as part of a structured moral discourse. Several medieval preachers referenced them in their teachings. For example:
The frequent references to gargoyles in medieval sermons suggest that they were not seen as mere decorative flourishes. Their presence on religious buildings was an intentional tool for teaching and theological reflection.
A Wide Variety of Forms and Messages
Gargoyles come in various forms, each with its own distinct meaning:
The Power of the Grotesque: Between Fear and Ridicule
One of the most striking aspects of gargoyles is their exaggerated grotesqueness, which blends fear with comedy. This duality strengthens their didactic role: by making evil laughable, they expose and diminish it.
Some sculpted figures adopt overtly obscene postures—such as animals with exaggerated sexual features or humans exposing themselves in provocative ways. Contrary to modern perceptions, these images were not mere expressions of artistic licence. Since antiquity, sexual imagery has been used to ward off evil spirits, and medieval society also produced many profane amulets with erotic imagery, believed to protect their wearers against malign forces.
Over time, the emphasis on fear of demons evolved into a more nuanced approach, where mockery became a weapon against evil. Since antiquity, people have believed that making demons laugh weakens them. Thus, gargoyles were not just ornaments; they were active participants in Christian pedagogy, subverting the devil through ridicule.
Guardians of Stone with a Multifaceted Purpose
Gargoyles are far more than decorative elements or architectural curiosities; they are sculpted manifestos against evil, combining satire, mockery, and moral warning. Rooted in a biblical tradition of ridiculing false beliefs, they expose and mock sin, demons, and human failings.
Their presence on cathedrals was neither gratuitous nor insignificant. Medieval preachers integrated them into their moral discourse, proving that they were a genuine tool of visual catechesis. If they had been merely “stonemasons’ whims,” it would have been absurd to dedicate so much time and expense to them.
Thus, gargoyles serve both protective and critical functions, being terrifying yet humorous, embodying a theology of the grotesque where evil is repelled not only by fear but also by laughter.
Ultimately, their message is clear: evil is absurd, grotesque, and worthy of ridicule—for it is nothing compared to divine power.
Dr Lorris Chevalier, who has a Ph.D. in medieval literature, is a historical advisor for movies, including The Last Duel and Napoleon. Click here to view his website.
Click here to read more from Lorris Chevalier
Top Image: Photo by Guillén Pérez / Flickr
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