Holy Terrors: Gargoyles on Medieval Buildings

by Janetta Rebold Benton

Multitudes of gargoyles haunt the medieval buildings of western Europe, peering down from churches and cathedrals, houses and town halls. Holy Terrors offers a fresh and irresistible history of these wildly varied characters — a society of stone creatures perched high above the workaday world.

The true gargoyle is a waterspout, an architectural necessity that medieval artisans transformed into functional fantasies. The informative introduction to Holy Terrors explains everything that is known or conjectured about the history, the construction, the purposes, and the mysterious meanings of these often rude and rowdy characters. The three chapters that follow are devoted to the gargoyles themselves, imaginatively carved of stone in the form of people, real animals, and fantastic beasts. In clear, lively language, Janetta Rebold Benton puts these personality-filled sculptures into the context of medieval life and art and captures their quirky diversity in her engaging color photographs.

Concluding the book is an invaluable guide to gargoyle sites throughout western Europe, as well as suggestions for further reading. This is the first book for adults to provide an intelligent and entertaining overview of medieval gargoyles, and it is bound to increase the already abundant legions of gargoyle admirers.

Genres: Art, Nonfiction, Architecture, History, Reference

140 pages, Hardcover

First published April 1, 1997

Reviews

[Glenn Russell · Rating 5 out of 5]

This little art book includes over 100 photos of gargoyles taken by the author herself, Janetta Rebold Benton, specialist in medieval art, which adds a real visual flare to the book’s four chapters: the first chapter a clear, concise overview of gargoyles and then three chapters with more specifics on human gargoyles, animal gargoyles and grotesque gargoyles. What a treat for absolutely anybody interested in medieval culture or art or exploring the wonder and feats of the human imagination.

And what exactly is a gargoyle? As the author explains, this stone creature is an elaborate waterspout constructed for the purpose of diverting rainwater from running down walls and eroding mortar; rather, the water is carried along a trough cut the length of the gargoyle back and then out the gargoyle mouth facilitating the water being thrown clear of the wall. The medieval gargoyles began appearing as part of the construction of cathedrals during the 1200s and continued their function on cathedrals and other church owned buildings right up until the late 1500s. They were made on the ground, usually out of limestone or marble, by stone carvers using mallet, chisel and file and then hoisted into place via a system of pulleys.



And why were gargoyles carved with such distorted or grotesque features? Professor Benton notes that since there isn’t really any written documentation detailing the theory and practice of creating gargoyles, many of our answers will be conjecture, however, we do know much about medieval religion and the western European medieval worldview, a worldview preoccupied with sin, salvation and the eternal fate of the soul. Thus, the artist had a responsibility to use their art to instruct and guide the public’s attitude and behavior. As we read, “Perhaps grotesque gargoyles were intended as guardians of the church, magic signs to ward off the devil. This interpretation would justify making a gargoyle as ugly as possible, as a sort of sacred scarecrow to frighten the devil away . . . Or perhaps gargoyles were themselves symbols of the evil forces – such as temptations and sins – lurking outside the sanctuary of the church.”



But the author adds, “Not all gargoyles were intended to frighten, reprimand, or threaten; some appear to have been intended to serve purposes not sacred but profane. Rather than inspiring dread, perhaps they were intended to amuse. Gargoyles may have been regarded as a form of popular entertainment." Sidebar: our author explains how a number of the stone creatures of the Cathedral of Notre Dame in Paris, as this one below, are commonly viewed as gargoyles but since they are not waterspouts, they are more accurately termed grotesques.



What I personally find so fascinating about gargoyles is what they signified for the actual medieval artists, well-trained craftsmen who could let their imaginations soar well beyond any fixed rules set down by the church. The creation of gargoyles was one area, similar to the creatures drawn in the margins of medieval manuscripts, that was uncensored by authorities and where the very human capacity to imagine and express itself in all its breathtaking and bizarre, stunning and whacky, fabulous and weird fullness became manifest, which, in a way, was the ultimate breath of artistic freedom in the medieval world. Where these creatures demons from the subconscious dream world or from the unseen realms of the imagination? Or, where they perhaps created out of a simple sense of making something very personal to display for one’s fellow artists and others? Probably a little of each of these reasons and then some, but whatever the reasons, these grotesque waterspouts, like the mouth-puller below, make for fascinating, captivating, beguiling, mind-blowing viewing.



A special thanks to Goodreads friend Pramod for suggesting this book to me.
One final note: You will have to look at the author’s book itself to see her outstanding photos as they are not available on the web. The pics I included above are my favorite gargoyles from those I found via a Goggle search.

[H (trying to keep up with GR friends) Balikov · Rating 5 out of 5]

There are plenty of gargoyles around; you just have to know where to look. There are plenty of books about gargoyles, from Stephen King to several that focus on those in the USA. This book looks at Europe and where it all began.

Benton has skillfully paired text with photographs of excellent quality. She sifts through facts and what she call “conjectures” about her subject. She divides the medieval subject into three: human, animal, and grotesque.

For a brilliant and comprehensive review, I recommend reading Glenn Russell’s; the one that got me to read the book.

Art is a very important lens through which we can gain a more complete understanding of a particular time and place. If you are like me and continue to seek to understand the medieval European world, Holy Terrors is a very welcome addition.

[Jeanne · Rating 4 out of 5]

4.5 Though, interesting, and most enjoyable survey of medieval gargoyles and grotesques. I especially loved that the author wasn't afraid to offer theories but was careful to say it wasn't known if, say, there was religious symbolism intended or not. The premise is that because of the time and the number of artists involved, it may be that there are multiple impulses behind the creation of these wonderful sculptures. It was refreshing to have someone not posit a theory and ignore any evidence to the contrary. Very readable, very enjoyable, and highly recommended for anyone with an interest in the subject.

[Jessie (Zombie_likes_cake) · Rating 2 out of 5]

I wanted more from this book than it ever planned on handing out. This book is about Gargoyles on European medieval buildings, just as the title says. It is a short book with half of its pages taken up by photos of said Gargoyles and some additional descriptions by Janetta Rebold Benton who is a professor of art history. Apparently there is only limited knowledge and research about Gargoyles, of the hows and whys of their coming into eternal stone life in the weird shapes that they often are. In consequence, Rebold's explanation quite often is "no one knows what the artist/ the church was trying to express with this gargoyle". Yeah, overall I craved a lot more background information, I am not specifically blaming Rebold if she can only make assumptions, but I was still left frustrated.
Additionally, her writing didn't really do much for me. I know, in non-fiction that is not what it boils down to but I have read some very well written NF and this wasn't one of them. Too often I am reading detailed descriptions of what a gargoyle looks like that is depicted on a photo, I thought that was unnecessary and bogged the little informational value "Holy Terrors" has further down.
I was hoping to get a bit more mythological input here, some legends and stories ranking around the stone creatures, there were a few tiny moments but this is so much more a book of architecture and art history.
Botttom line, I didn't have the greatest time with this book and I do admit that was more my fault than the books but I can't give a high rating when I didn't have a good time. 2.5*

[Kim Olson · Rating 4 out of 5]

I've always loved gargoyles, but I didn't know much about them until reading this book. I didn't know the difference between gargoyles and grotesques. I didn't know (or had forgotten) that gargoyles are functional. And I had no idea of the vast range of gargoyles perched on cathedrals, towers, and elsewhere.

This photo-rich book, which focuses on gargoyles of Europe, is divided into three main sections covering human gargoyles, animal gargoyles, and grotesques. These stone creatures have no shortage of personality, with gnashing teeth, heads thrown back in eternal howls, or comical expressions. The text shares details about what the different types represent, providing historical context. There are scores of photos, often giving the reader clear, bird's-perspective views of these charming (or alarming) medieval characters.

[Marissa · Rating 5 out of 5]

Love it

[ツツ]

Nice pictures, redundant uninspiring words. Such an interesting subject, a missed opportunity. Long introduction, basically a chapter of its own.

[Stella · Rating 4 out of 5]

Informative, somewhat academic assessment of European gargoyles. The photos are all numbered as plates so they can be referred to in the text, sometimes out of order, which was really quite helpful.

[Michael Jones · Rating 5 out of 5]

I would like to suggest that Janetta Rebold Benton has done a great service in furthering thought about the gargoyles on medieval buildings.

First of all, the choice of photographs and the way she explains them is exquisite! The book is highly worthwhile on this basis alone. However, this book also has the added benefit of some excellent thoughts on the MEANING of the gargoyles. I think this gives much insight into history and church history.

She wisely premises that there may be different meanings in different times and situations. She states that, "the medieval affection for ambiguity allowed for a multiplicity of meanings… Characteristic of the medieval mentality was a willingness to freely interpret reality, as well as fantasy, according to religious symbolism." (Page 21)
After her 10 years of research and cogent reasoning, here are some of the things she points out:
1. Medieval people did not have telephoto lenses or even good binoculars. The majority of the gargoyles are set too high to be seen very well with the naked eye. This is also the case with many stained-glass windows. Therefore, the exquisite artwork here was meant to be seen by God, or they just enjoyed doing it.
(From this, I surmised that possibly the craftsmen themselves may have competed to do the best stone carving. The author suggests this saying that some of the Masons may have had an ego.)
2. Of the medieval gargoyles (as opposed to modern gargoyles such as the Chrysler building in New York City) no two gargoyles are the same! Wow! This shows the amazing individual craftsmanship that was going on.
3. As the glorious medieval times transitioned from paganism to Christianity, there could have been some concession given to former paganism especially in Roman culture. Allowing the gargoyles stay on the outside of the Cathedral (generally) also could have shown that paganism was not allowed inside the sanctuary.
4. Medieval people clearly had a fascination with ugliness and the torments of hell. She points out that this could actually have been a form of entertainment for them just as people like horror movies today.
5. In some contexts, the evil creatures could have been a reminder of God's judgment upon entering the building.
6. In other contexts, gargoyles are laughing or ridiculing. Some of these are placed lower, and so may have been intended for the entertainment of passersby.
7. She then goes on in the successive chapters to demonstrate the gargoyles were human, animal, and grotesque mixtures which are especially interesting.
8. She demonstrates how some gargoyles may have been used to tell a tale-- such as gargoyles dressed as a fox or priest representing men like John Wycliffe as a wolves in sheep's clothing. (p82)

One of the things I really like about the book is that the photos are not used randomly, but with the text to give examples.

Bravo!

[Roseann · Rating 3 out of 5]

I will admit that I used to be afraid of gargoyles. I saw them as horrible creatures who might come to life at night and attack. I now see them are caretakers for the buildings they inhabit, taking care to keep out the bad and protect those within.

There are not many books out there about these wonderful 'creatures' and while I thoroughly enjoyed this, I wish the author did more in her descriptions. I highly recommend it for the wonderful photos of not only the stereotypical gargoyles, but also those who inhabit other animal, and even human, bodies.

[Robin Thomas · Rating 4 out of 5]

I've always been an admirer of gargoyles. This was a fun little book. I actually started it yesterday. Lots of great pictures. Explains the different types of gargoyles and the various terminology. Gargoyles are waterspouts or water spitters. Grotesques or chimeras do not spout. Talks about human gargoyles,animal gargoyles, and grotesques.

[Alan Davis · Rating 3 out of 5]

An interesting historical account of gargoyles on well-known buildings.