After admiring the gargoyles of the “Catedral Nueva” in Vitoria in previous entries, we now continue our journey through the Basque Country to explore other examples of this singular sculptural element.
Today we turn to the city of Irún, where we have found some of the most peculiar and distinctive gargoyles in our survey.
These are the gargoyles of the Parish Church of Nuestra Señora del Juncal in Irún (Guipúzcoa), a magnificent building constructed between the sixteenth and seventeenth centuries, whose architecture combines Gothic, Renaissance, and Baroque elements.
This church was declared a National Historical-Artistic Monument in June 1973.
Typologies of the Gargoyles of the Church of Nuestra Señora del Juncal
Gargoyles Representing Real Animals
The gargoyles present a particularly curious and striking iconography.
In terms of their typology, several real animals can be identified with features that oscillate between the lion and the lamb. The lamb, as an innocent, docile, phlegmatic, and patient animal, symbolises humility, innocence, and patience. Because of its docile nature and its use in sacrificial contexts, it was employed in Jewish ritual offerings. Thus, the lamb became a symbol of Christ, who, in a meek and lamb-like manner, offered himself in sacrifice for the redemption of humanity.
Gargoyles Representing Fantastic or Mythological Animals
Several fantastic creatures with the appearance of griffins can also be observed.
Although they have already been discussed in the entry devoted to the gargoyles of the La Loge de Mer in Perpignan, it is worth recalling that the griffin is a mythical creature, half eagle and half lion. Its representation dates back to Antiquity (Babylon, Persia, ancient India). Pliny (first century) states that they originated in the land of the Scythians (northern Russia), while Aeschylus (sixth–fifth centuries BC) places them in Ethiopia.
Their dual nature grants them all the attributes of the lion (king of the land) and the eagle (queen of the air). In Greece and Rome, they were regarded as guardians of tombs; among the Greeks, they were also associated with light, which explains why they are sometimes depicted at the feet of statues of Apollo.
In Christian symbolism, by combining both natures (eagle and lion), the griffin became one of the most powerful emblems of the dual nature of Christ: the eagle’s bust represents the divinity of the Saviour, while the lion’s body represents his humanity. The griffin is also a symbol of wisdom and a guardian of treasures, especially emeralds.
In terms of its negative connotations, the griffin frequently represented Satan because of its raptor’s beak and predatory claws; some medieval authors also associate it with the devil due to its cruelty and destructive power. Saint Isidore (sixth–seventh centuries) states: “They are extremely dangerous to horses. Likewise, they tear apart any men they encounter.”
Although the subject matter is common in gargoyles, what is truly striking in this case is their sculptural style and the quality of their carving. These figures display highly distinctive features, such as elongated and pointed snouts or inclined heads, which confer a notable sense of dynamism.
In addition, some are adorned with elements such as collars or ribbons around the neck, as well as the petral —a strap or band that also appears in some gargoyles of Burgos Cathedral—. These elements, together with the almond-shaped, contoured eyes, recall representations from the art of Antiquity (Mesopotamia, Persia) and, if we also consider the presence of the griffin as a creature originating from these cultural spheres, they form gargoyles of great evocative power.
A further demonstration of the artistic richness of gargoyles in the Basque Country.
Bibliography
CHARBONNEAU-LASSAY, L., El bestiario de Cristo. El simbolismo animal en la Antigüedad y la Edad Media, vol. I, Palma de Mallorca, José J. de Olañeta Editor, 1997.
MARIÑO FERRO, X. R., El simbolismo animal. Creencias y significados en la cultura occidental, Madrid, Ediciones Encuentro, 1996.
This entry was originally published in April 2019 and updated in March 2026.
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.
