{"id":8261,"date":"2024-10-23T10:59:13","date_gmt":"2024-10-23T08:59:13","guid":{"rendered":"https:\/\/doloresherrero.com\/?p=8261"},"modified":"2026-04-16T14:18:32","modified_gmt":"2026-04-16T12:18:32","slug":"gargoyles-and-sculpting-the-language-of-stone","status":"publish","type":"post","link":"https:\/\/doloresherrero.com\/en\/gargoyles-and-sculpting-the-language-of-stone\/","title":{"rendered":"Gargoyles in Stone: The Mastery of Carving"},"content":{"rendered":"&nbsp;\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">Many of us are attracted to and fascinated by <strong>gargoyles<\/strong>. Their monstrous, terrifying, beautiful or ugly figures astound and intrigue us. But there\u2019s more to gargoyles than iconography and functionality. There\u2019s something living that changes over time, something bound up with the sculptor\u2019s hand that speaks to us across the years and the centuries.<\/span><\/p>\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">In today\u2019s post, we are going to look at <strong>stone<\/strong>.<\/span><\/p>\r\n&nbsp;\r\n\r\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-8261 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-del-Monasterio-de-Alcoba\u00e7a-Portugal.gif'><img loading=\"lazy\" decoding=\"async\" width=\"1155\" height=\"1540\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-del-Monasterio-de-Alcoba\u00e7a-Portugal.gif\" class=\"attachment-full size-full\" alt=\"Gargoyle from the Monastery of Alcoba\u00e7a (Portugal). It is a human figure.\" aria-describedby=\"gallery-1-6192\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-6192'>\n\t\t\t\tAlcoba\u00e7a Monastery (Portugal)\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/Gargola-de-la-Catedral-de-El-Burgo-de-Osma-4.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"1133\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/Gargola-de-la-Catedral-de-El-Burgo-de-Osma-4.jpg\" class=\"attachment-full size-full\" alt=\"Gargoyle of the Cathedral of El Burgo de Osma. It is a woman in medieval dress touching her neck with a gesture of choking or suffering.\" aria-describedby=\"gallery-1-13837\" srcset=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/Gargola-de-la-Catedral-de-El-Burgo-de-Osma-4.jpg 850w, https:\/\/doloresherrero.com\/wp-content\/uploads\/Gargola-de-la-Catedral-de-El-Burgo-de-Osma-4-480x640.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 850px, 100vw\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-13837'>\n\t\t\t\tEl Burgo de Osma Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\r\n<h2><\/h2>\r\n<h2><\/h2>\r\n<h2><\/h2>\r\n<h2><\/h2>\r\n<h2>The Language of Stone<\/h2>\r\n&nbsp;\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">Although some gargoyles are made of other materials, such as ceramic, wood or metal, the most frequently employed material is stone, due to its water and weather resistance.<\/span><\/p>\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">Generally, whenever it was of acceptable quality, local stone was used to construct most of the buildings in a city, as is the case of Zamora with its local sandstone, and Salamanca with its Villamayor stone. Williamson observes that when the faithful approached the cathedrals, they could see that the sculpture was inseparable from the architecture, and the same remains the case today, and the stone that was used for architectural sculpture was generally the same as that used for the rest of the building. This also applies to the gargoyles, since in most cases these were sculpted from the stone used to construct the building they adorned.<\/span><\/p>\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">The most frequently employed <strong>types of stone<\/strong> are sandstone, limestone and granite. When I was studying the gargoyles in the cathedrals of Castile and Le\u00f3n, I discovered some interesting properties of the stone used to sculpt the gargoyles, thanks to works by the authors listed in the references given at the end. Here are a few of these characteristics.<\/span><\/p>\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">Used to construct the <strong>Cathedral of Salamanca<\/strong>, the <strong>sandstone from Villamayor<\/strong> is mostly fine-grained and pale ochre in colour, with darker red streaks and veining. It is a very soft stone that is easy to work, becoming harder over time as it loses moisture.<\/span><\/p>\r\n&nbsp;\r\n\r\n<img loading=\"lazy\" decoding=\"async\" class=\"wp-image-10011 aligncenter\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/Catedral-de-Salamanca-2.jpg\" alt=\"g\u00e1rgolas significado\" width=\"570\" height=\"428\" title=\"\" srcset=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/Catedral-de-Salamanca-2.jpg 570w, https:\/\/doloresherrero.com\/wp-content\/uploads\/Catedral-de-Salamanca-2-480x360.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) 570px, 100vw\" \/>\r\n<p style=\"text-align: center;\">Salamanca Cathedral (Spain)<\/p>\r\n&nbsp;\r\n<p style=\"text-align: justify;\">In<strong> \u00c1vila<\/strong>, the cathedral and other monuments were mainly built using three kinds of<strong> granite<\/strong>. The first of these is grey granite, known as <em>gris \u00c1vila<\/em>, which is mainly composed of quartz, feldspar, mica and chlorite. It presents very low values for porosity, water absorption and vapour permeability combined with high mechanical strength, all characteristics of high quality granite. The second is ochre granite (known as <em>Cale\u00f1o<\/em>), which presents high porosity and permeability values and poor mechanical strength. In addition to quartz, traces of feldspar and dioctaedric mica, it contains laminar silicates and iron oxyhydroxides. It has important ornamental properties (colour, easy to work) and was often used in the past to construct monumental buildings in \u00c1vila (e.g. the cathedral and San Vicente). The third kind of granite is known as <em>piedra sangrante<\/em> (bleeding stone), which presents values for porosity and mechanical strength that are mid-way between the previous two, and is highly decorative because iron oxides are redistributed during stone formation, creating a red and white marbling effect. The stone also contains abundant opal. Several varieties have been used in the cathedral, depending on the time of construction and restoration, and also on the strength and aesthetic features required. Grey granite has generally been used for replacements, probably because of its better resistance to deterioration.<\/p>\r\n&nbsp;\r\n\r\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-8261 gallery-columns-3 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-\u00c1vila-4.gif'><img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"638\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-\u00c1vila-4.gif\" class=\"attachment-full size-full\" alt=\"Gargoyle from \u00c1vila Cathedral (Spain).\" aria-describedby=\"gallery-2-6166\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-6166'>\n\t\t\t\t\u00c1vila Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-\u00c1vila-3.gif'><img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"638\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-\u00c1vila-3.gif\" class=\"attachment-full size-full\" alt=\"Gargoyle from \u00c1vila Cathedral (Spain).la\" aria-describedby=\"gallery-2-6164\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-6164'>\n\t\t\t\t\u00c1vila Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-\u00c1vila-1.gif'><img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"638\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-\u00c1vila-1.gif\" class=\"attachment-full size-full\" alt=\"Gargoyle from \u00c1vila Cathedral (Spain).\" aria-describedby=\"gallery-2-6162\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-6162'>\n\t\t\t\t\u00c1vila Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\r\n\r\n&nbsp;\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">Nevertheless, the stone most frequently used to sculpt gargoyles is <strong>limestone<\/strong>, a carbonated rock of sedimentary origin, composed of carbonate precipitates and carbonated or other particles. This is a high quality stone for construction and sculpting, and is easy to cut due to its low abrasiveness, permitting many creative possibilities.<\/span><\/p>\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">As we can see, the type of stone used was fundamental when sculpting gargoyles. Since these sculptures were sited on the exterior of buildings, exposed to the elements, the stone underwent inevitable transformations, including colour changes, fractures, cracks and erosion. As we said earlier, these changes converted the gargoyles into \u201cliving\u201d matter as they sustained change and metamorphosis.<\/span><\/p>\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">Let\u2019s look now at what happens to a block of stone in the hands of a <a href=\"https:\/\/doloresherrero.com\/en\/the-gargoyles-and-its-creator\/\"><strong>sculptor<\/strong><\/a>. It is time to give shape to the gargoyle that will eventually emerge from the artist\u2019s handiwork, and depending on the period, the shape of the figure destined to adorn the gargoyle and its iconography will vary.<\/span><\/p>\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">As we saw in a previous post, although gothic gargoyles first appeared \u2014according to Viollet-le-Duc\u2014 around 1220 in the French cathedral of Laon, we know that gargoyles have existed since antiquity. Initially, they were usually small and consisted of heads, especially of a <a href=\"https:\/\/doloresherrero.com\/en\/the-lion-and-its-portrayal-in-gargoyles\/\"><strong>lion<\/strong><\/a>, as can be seen in some classical Greek examples.<\/span><\/p>\r\n&nbsp;\r\n\r\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-3 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-3 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-3' class='gallery galleryid-8261 gallery-columns-3 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-del-Parten\u00f3n-de-Atenas-s.-V-a.-C.-4.gif'><img loading=\"lazy\" decoding=\"async\" width=\"649\" height=\"865\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-del-Parten\u00f3n-de-Atenas-s.-V-a.-C.-4.gif\" class=\"attachment-full size-full\" alt=\"Gargoyle from the Parthenon in Athens (Greece). It is a real animal: a lion.\" aria-describedby=\"gallery-3-6194\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-6194'>\n\t\t\t\tThe Parthenon of Athens (Greece)\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/MUSEO-ARQ.-NAC.gif'><img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"638\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/MUSEO-ARQ.-NAC.gif\" class=\"attachment-full size-full\" alt=\"Gargoyle from the National Archaeological Museum of Athens (Greece). It is a real animal: a lion.\" aria-describedby=\"gallery-3-6198\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-6198'>\n\t\t\t\tNational Archaeological Museum of Athens (Greece)\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/MUSEO-ARQ.-NAC.-1.gif'><img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"638\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/MUSEO-ARQ.-NAC.-1.gif\" class=\"attachment-full size-full\" alt=\"Gargoyle from the National Archaeological Museum of Athens (Greece). It is a real animal: a lion.\" aria-describedby=\"gallery-3-6196\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-6196'>\n\t\t\t\tNational Archaeological Museum of Athens (Greece)\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\r\n\r\n&nbsp;\r\n<p style=\"text-align: justify;\">The shape and type of sculpting employed in the Middle Ages to create gargoyles convey important chronological information. Various authors (e.g. Morales Baena, Rebold Benton and Viollet-le-Duc) have discussed their history. In general, the oldest gargoyles (Romanesque and early Gothic) are short, robust and roughly worked. They are also schematic, in most cases heads or busts, and usually represent animals. This iconography is similar to that of the classical gargoyles described above.<\/p>\r\n&nbsp;\r\n\r\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-4 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-4 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-4' class='gallery galleryid-8261 gallery-columns-3 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Ciudad-Rodrigo-4.gif'><img loading=\"lazy\" decoding=\"async\" width=\"793\" height=\"656\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Ciudad-Rodrigo-4.gif\" class=\"attachment-full size-full\" alt=\"Gargoyle from Ciudad Rodrigo Cathedral (Salamanca, Spain). It is a real animal: an amphibian.\" aria-describedby=\"gallery-4-6184\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-4-6184'>\n\t\t\t\tCiudad Rodrigo Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Ciudad-Rodrigo-3.gif'><img loading=\"lazy\" decoding=\"async\" width=\"937\" height=\"699\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Ciudad-Rodrigo-3.gif\" class=\"attachment-full size-full\" alt=\"Monstrous gargoyle from Ciudad Rodrigo Cathedral (Salamanca, Spain).\" aria-describedby=\"gallery-4-6182\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-4-6182'>\n\t\t\t\tCiudad Rodrigo Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Ciudad-Rodrigo-2.gif'><img loading=\"lazy\" decoding=\"async\" width=\"793\" height=\"550\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Ciudad-Rodrigo-2.gif\" class=\"attachment-full size-full\" alt=\"Monstrous gargoyle from Ciudad Rodrigo Cathedral (Salamanca, Spain).\" aria-describedby=\"gallery-4-6180\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-4-6180'>\n\t\t\t\tCiudad Rodrigo Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\r\n\r\n&nbsp;\r\n<p style=\"text-align: justify;\">Subsequently, the figures became more slender and elongated, supported by corbels that allowed them to jut out and direct the water as far away from the walls as possible. Real animals, humans, <a href=\"https:\/\/doloresherrero.com\/en\/animal-monsters-in-gargoyles\/\"><strong>hybrids<\/strong><\/a>,<strong> <a href=\"https:\/\/doloresherrero.com\/en\/mythology-and-fascinating-mythical-creatures-in-gargoyles\/\">fantastical animals<\/a> <\/strong>and <strong><a href=\"https:\/\/doloresherrero.com\/en\/the-devil-and-his-portrayal-in-gargoyles-iv\/\">grotesque devils<\/a><\/strong> were all depicted. In the late 13th century, the figures started to become more exaggerated and caricature-like, while the sculpting now became finer and more detailed. Viollet-le-Duc also says that these longer, more slender gargoyles, in which animals were often replaced by human figures, became widespread in the 14th century and by the 15th century had become even more refined and acquired a more ferocious aspect. Powerful figures were sculpted by skilled hands with great attention to detail. We would add that they also acquired more <strong><a href=\"https:\/\/doloresherrero.com\/en\/expressiveness-in-images-of-gargoyles\/\">expressiveness<\/a><\/strong> and <a href=\"https:\/\/doloresherrero.com\/en\/gesturality-in-images-of-gargoyles-plasticity-in-art\/\"><strong>dynamism<\/strong><\/a>.<\/p>\r\n<p style=\"text-align: justify;\"><span lang=\"EN-GB\">Although they are all magnificent and a reflection of different periods, I must confess my predilection for the elongated, stylised gargoyles representing surprising creatures and sculpted with great attention to detail. Contemplating them from the road, and above all from the rooftops, is an indescribable experience. Some are so slender and so long that they appear to be about to launch into flight.<\/span><\/p>\r\n&nbsp;\r\n\r\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-5 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-5 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-5' class='gallery galleryid-8261 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Burgos-9.gif'><img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"638\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Burgos-9.gif\" class=\"attachment-full size-full\" alt=\"Demonic gargoyle from Burgos Cathedral (Spain).\" aria-describedby=\"gallery-5-6176\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-5-6176'>\n\t\t\t\tBurgos Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Le\u00f3n-2.gif'><img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"638\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Le\u00f3n-2.gif\" class=\"attachment-full size-full\" alt=\"Demonic gargoyle from Le\u00f3n Cathedral (Spain).\" aria-describedby=\"gallery-5-6188\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-5-6188'>\n\t\t\t\tLe\u00f3n Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Burgos-6.gif'><img loading=\"lazy\" decoding=\"async\" width=\"1082\" height=\"973\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Burgos-6.gif\" class=\"attachment-full size-full\" alt=\"Demonic gargoyle from Burgos Cathedral (Spain).\" aria-describedby=\"gallery-5-6174\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-5-6174'>\n\t\t\t\tBurgos Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Burgos-3.gif'><img loading=\"lazy\" decoding=\"async\" width=\"850\" height=\"638\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-Burgos-3.gif\" class=\"attachment-full size-full\" alt=\"Demonic gargoyle from Burgos Cathedral (Spain).\" aria-describedby=\"gallery-5-6172\" title=\"\"><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-5-6172'>\n\t\t\t\tBurgos Cathedral (Spain)\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\r\n\r\n&nbsp;\r\n<p style=\"text-align: justify;\">The early years of the Renaissance produced gargoyles that still preserved the Gothic style of the 15th century ones, but towards the second half of the 16th century, sculptors rejected Gothic forms and, with few exceptions, their gargoyles became simple geometric tubes or pipes, a characteristic that continued in the Baroque.<\/p>\r\n&nbsp;\r\n\r\n<img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-6167\" src=\"https:\/\/doloresherrero.com\/wp-content\/uploads\/G\u00e1rgola-de-la-Catedral-de-\u00c1vila-5.gif\" alt=\"gargola barroco simbologia\" width=\"570\" height=\"428\" title=\"\">\r\n<p style=\"text-align: center;\">\u00c1vila Cathedral (Spain)<\/p>\r\n&nbsp;\r\n<p style=\"text-align: justify;\">As we always say, field work shows us that stone speaks, conveying through shape, texture, erosion, style and the very figure itself an entire period, with its artistic fashions, skills and ways of thinking and living. Contemplating the gargoyles at close range, every one of their parts, every gesture, every fracture, every shape and changing colour of the stone is an authentic and marvellous lesson for those of us who <strong>adore gargoyles<\/strong>.<\/p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Bibliography consulted<\/strong>\r\n<p style=\"text-align: justify;\">GARC\u00cdA DE LOS R\u00cdOS COBO, J. I. y B\u00c1EZ MEZQUITA, J. M., <em>La piedra en Castilla y Le\u00f3n<\/em>, Valladolid, Junta de Castilla y Le\u00f3n. Consejer\u00eda de Econom\u00eda y Hacienda. Direcci\u00f3n General de Industria, Energ\u00eda y Minas, 1994.<\/p>\r\n<p style=\"text-align: justify;\">MORALES BAENA, A. M., <em>Las g\u00e1rgolas del claustro del monasterio de San Juan de los Reyes de Toledo<\/em>, Tesis in\u00e9dita dirigida por M. Prieto Prieto, Departamento de Pintura-Restauraci\u00f3n. Facultad de Bellas Artes. Universidad Complutense de Madrid, 1994 (le\u00edda en 1995).<\/p>\r\n<p style=\"text-align: justify;\">REBOLD BENTON, J., <em>Holy Terrors. Gargoyles on medieval buildings<\/em>, New York, Abbeville Press, 1997.<\/p>\r\n<p style=\"text-align: justify;\">VICENTE, M. A., MOLINA, E. y RIVES, V., \u201cPiedras ornamentales en las catedrales de \u00c1vila y Salamanca: Naturaleza y comportamiento\u201d en A. Sancho Campo (director),<em> Las Catedrales de Espa\u00f1a. Jornadas t\u00e9cnicas de conservadores de las catedrales. Alcal\u00e1 de Henares, 6 y 7 de noviembre de 1998<\/em>, M\u00e1ster de Restauraci\u00f3n y Rehabilitaci\u00f3n del Patrimonio. Cuadernos Tem\u00e1ticos del Patrimonio n\u00ba 2, Alcal\u00e1 de Henares, Conferencia Episcopal Espa\u00f1ola. Instituto Espa\u00f1ol de Arquitectura. Universidad de Alcal\u00e1. Colegio Oficial de Aparejadores y Arquitectos T\u00e9cnicos de Madrid. Junta de Castilla y Le\u00f3n, 1998.<\/p>\r\n<p style=\"text-align: justify;\">WILLIAMSON, P., <em>Escultura G\u00f3tica. 1140-1300<\/em>, Madrid, Ediciones C\u00e1tedra, S. A., 1997.<\/p>\r\n<p style=\"text-align: justify;\">VIOLLET-LE-DUC, M., <em>Dictionnaire Raisonn\u00e9 de l\u00b4Architecture Fran\u00e7aise du XIe au XVIe Si\u00e8cle par M. Viollet-le-Duc, Architecte du Gouvernement, Inspecteur-G\u00e9n\u00e9ral des \u00c9difices Dioc\u00e9sains<\/em>, Tome Sixi\u00e8me, Paris, F. de Nobele Libraire, 1967.<\/p>\r\n&nbsp;","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":6190,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[476],"tags":[183,501,187,72,185,186,499],"class_list":["post-8261","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-language-of-gargoyles","tag-arte-en","tag-carving","tag-gargolas-en","tag-gargoyles-en","tag-historia-en","tag-investigacion-en","tag-sculptor"],"_links":{"self":[{"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/posts\/8261","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/comments?post=8261"}],"version-history":[{"count":3,"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/posts\/8261\/revisions"}],"predecessor-version":[{"id":20837,"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/posts\/8261\/revisions\/20837"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/media\/6190"}],"wp:attachment":[{"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/media?parent=8261"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/categories?post=8261"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/doloresherrero.com\/en\/wp-json\/wp\/v2\/tags?post=8261"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}