Gargoyles of Palencia Cathedral (Spain)

Today we discover one of the most beautiful and impressive sets of gargoyles in Spain: the gargoyles on the east side of Palencia Cathedral.

First, a brief history of the building. During the second half of the twelfth century and the early years of the thirteenth century, an exceptional Romanesque cathedral was built, remarkable for both its chronology and its dimensions. It was consecrated in 1219; however, only a few fragments of that structure remain, as it was demolished in the fourteenth century. The first stage of the Gothic cathedral took place between 1321 and 1426, when the ambulatory and its chapels —a true architectural marvel— were constructed. Towards the end of the nineteenth century, further works were deemed necessary, particularly affecting two flying buttresses of the chevet. These works were carried out between 1884 and 1896.

Typologies of the Gargoyles of the East End of Palencia Cathedral

On both the old transept and the apse, two types of gargoyles can be identified: on the one hand, the magnificent stone gargoyles located on the buttresses and beneath the pinnacles; on the other, a group of small metal gargoyles in the form of little devils, positioned at the upper end of drainage pipes.

Their typology is varied: human figures, real animals, animal monsters, and demons. The demon is the predominant figure, a presence commonly found in cathedrals and probably related to the contrast between evil and sin, represented on the exterior of the cathedral, and goodness and the sacred, symbolised by its interior. It may also be interpreted as a manifestation of the medieval idea of showing the existence of evil before the community.

Gargoyles Representing Demons

In the entry devoted to gargoyles made of metal and other materials, we discussed the cathedral’s small devil figures: schematically carved creatures with long horns, eyes, a pointed snout, and a dorsal crest. They appear in a variety of poses: lying with their arms resting on the pipe; seated with their arms raised; standing with one arm lifted and the opposite leg advanced in a walking posture; lying with both arms and legs resting on the pipe; or seated while raising their arms upwards. These small gargoyles are dynamic figures that convey a strong sense of movement and possess a playful and mocking appearance. Similar examples can also be found on the walls of the historic centre of Ibiza (Spain).

The stone demons are truly magnificent gargoyles. They are filled with details characteristic of the demonic typology, carved with exceptional skill and endowed with remarkable expressiveness. Their features include clearly marked ribs and tracheae; dorsal and frontal crests; large mouths with teeth or fangs; eyes with eyelids and pupils, some of them vertical; pointed ears; unpleasant-looking bodies and skin with folds, wrinkles, feathers, and scales; claws with long nails; goatees; protruding tongues; appendages on the forehead or small horns; bird-like or bat-like wings; animal bodies, especially avian forms; monstrous heads; wrinkled snouts; and cloven hooves.

Two examples stand out in particular for the originality of their features and their sculptural quality. The first is an imposing anthropomorphic demon, with rough skin and scales covering part of the body. It has claw-like hands and feet ending in enormous pincers, a feature also found in gargoyles of other cathedrals, such as Burgos (Spain). Its head is human and female in appearance, with straight, dishevelled hair, an image associated with savagery, bestiality, or power, which some authors relate to the greasy and unkempt hair attributed to barbarians. With pointed ears and large Negroid-type facial features, this is a truly disturbing gargoyle.

The second figure is a gastrocephalic demon with a prominent trachea and clearly marked ribs. It has human-looking arms and hands, reptilian legs with slightly webbed claws and long nails, and a bird’s head with an aquiline beak. The second face, located on the belly, resembles a green man, with enormous eyes, nose, and mouth surrounded by abundant foliage.

Gargoyles Representing Animal Monsters

Animal monsters are hybrids formed from different animal parts. Examples include a winged dog and a creature with the body of an eagle and the head of a ram, a feature that gives it a demonic appearance. In both cases, the carving is extraordinarily detailed: musculature, skin textures —wrinkles, folds, and fur—, wings, legs, claws, heads with perfectly defined eyes, and mouths with tongues and teeth.

Gargoyles Representing Human Figures

The two human figures are particularly unusual. The first represents a skeleton with its arms crossed over its chest in a gesture of self-embrace, a disturbing image that symbolises death. The representation of skeletons and skulls as symbols of death is common in art. In some images, the skeleton holds a scythe in one hand, symbolising the brevity of life, and an hourglass in the other, alluding to the rapid passage of time. Although the skeleton is the personification of death, it can also symbolise the Devil.

The second gargoyle represents the cathedral’s famous photographer. He is shown standing, holding a camera with both hands. The collar of his shirt and part of his tie are visible, and he wears an overcoat reaching down to his feet. His face is downcast, with a sad expression, giving the figure a somewhat funerary and highly original appearance, although it is entirely anachronistic.

Gargoyles Representing Real Animals

Lastly, the three real animals consist of two lions and a bird that may resemble a parrot or popinjay. The lions are magnificent figures, with perfect anatomy and exceptional detail in both body and head: mane, snout, teeth, and eyes with pupils. They are seated, with their paws resting on decorated shields.

Although the decoration on one of the shields is heavily worn, three bands can still be discerned: the central band contains a building or ship, while the lateral bands display the same vegetal decoration, with serpent heads at the top. The other shield depicts a man kneeling in adoration before a figure seated on a throne; behind the kneeling figure are several standing characters and what appears to be an angel.

The third animal is possibly a parrot or popinjay, distinguished by its abundant and striking plumage. Its head is particularly elaborate, with pronounced and highly detailed features such as eyebrows, eyes, and beak.

Dolores Herrero Ferrio

Doctor of Art History and researcher specializing in the study of gargoyles.

I am Dolores Herrero Ferrio, and my thesis, “An Approach to the Study of Gargoyles of Gothic Cathedrals in Castilla and León”, is dedicated to the study of these fascinating figures.

If you like gargoyles and art history, you will also enjoy my book, “The Gargoyle and Its Iconography,” a book I have written with great care for those interested in the world of gargoyles.

I have created my own Encyclopedia of Gargoyles, a Gargopedia to share with you, where you will discover all the secrets and wonders of these enigmatic sculptures.

I hope you enjoy this Gargopedia as much as I have enjoyed creating it, and remember that each gargoyle has a story to tell, and here you will discover them all.

doloresherrero.com/

The Gargoyles of Robledo de Chavela’s Church, Spain: Stone Guardians of Madrid’s Skies

The Gargoyles of the Blois Cathedral

Gargoyles of the Château Royal de Blois: Analysis and Typologies

The Exceptional Gargoyles of the West Facade of Salamanca Cathedral

The Gargoyles of the University of Alcalá de Henares: A Sculptural Legacy of Madrid, Spain’s Heritage