{"id":8853,"date":"2024-11-07T11:04:42","date_gmt":"2024-11-07T10:04:42","guid":{"rendered":"https:\/\/doloresherrero.com\/?p=8853"},"modified":"2026-03-14T12:27:58","modified_gmt":"2026-03-14T11:27:58","slug":"the-striking-and-irreverent-gargoyles-of-la-lonja-in-valencia","status":"publish","type":"post","link":"https:\/\/doloresherrero.com\/en\/the-striking-and-irreverent-gargoyles-of-la-lonja-in-valencia\/","title":{"rendered":"The Imposing Gargoyles of Valencia’s Lonja: Architectural Splendor and Symbolism"},"content":{"rendered":"

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Today\u2019s post is dedicated to the most surprising and enigmatic set of gargoyles<\/strong><\/a> we have ever come across on our travels.<\/p>\n

We are referring, of course, to the gargoyles of La Lonja de la Seda<\/a> (Silk Exchange) in Valencia (Spain)<\/strong>.<\/p>\n

By itself, this civic building is an architectural gem; but the gargoyles and numerous chimeras that decorate its walls are an even more extraordinary and attention-grabbing addition.<\/p>\n

Work on the building began towards the end of the fifteenth century, in line with the late Gothic style. It is a symbol of the great commercial wealth of the Middle Ages and the importance of the Valencian bourgeoisie. Nowadays, it is a UNESCO World Heritage Site.<\/p>\n

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\"lasgargolasdh\"<\/p>\n

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An Exploration of the Gargoyles of the Lonja: Symbolism and Boldness at Great Heights<\/h2>\n

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Some of the gargoyles are from the end of the fifteenth century and start of the sixteenth century, while others are Neo-Gothic. The sculptors who created them include Pere Compte, Johan Corbera, Alfonso de Leo, Jos\u00e9 Aixa and Antonio Ferrer G\u00f3mez.<\/p>\n

They are all stunning and deserve to be examined one by one, due to the sheer number of surprising and unusual elements and details they possess and the magnificence of their carving.<\/p>\n

Let\u2019s start with a gargoyle depicting a dragon<\/strong><\/a>. Although its face has deteriorated, we can clearly make out its reptilian body and enormous wings.<\/p>\n

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\"g\u00e1rgolas<\/p>\n

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The next gargoyle depicts an angel<\/strong> with one knee resting on the ground. The figure has pupils and curly hair, is playing a Moorish-style guitar, and appears to be singing.<\/p>\n

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\"G\u00e1rgolas<\/p>\n

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There is also a demon<\/strong><\/a> with a dragon-like body, membranous wings, webbed feet and bared teeth. This ferocious gargoyle is carrying (or maybe it has snatched) a small “wild man” that is attached to it on the right-hand side and is holding a stick or stake. The “wild man” transitioned from a figure of malevolence and lust to an exemplar of purity and harmony with nature, embodying the concept of the “noble savage”. It is a gargoyle with a fierce appearance.<\/p>\n

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\"Dolores<\/p>\n

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The next figure is that of a bearded man: he is praying while holding a phylactery in his hands, and is emerging from the jaws of a sea creature. This may be a biblical reference to Jonah and the whale<\/strong>.<\/p>\n

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\"g\u00e1rgola<\/p>\n

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A lion<\/strong><\/a> firmly grasps the body of a small creature, which appears to be a reptile. This gargoyle may have a Christian meaning: a lion (Christ) is overcoming a reptile (demon).<\/p>\n

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\"g\u00e1rgula<\/p>\n

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The following example is notably unusual. It is a figure of a monk<\/strong> displaying part of his thighs while touching his genitals with one hand. On the left-hand side of his head is the figure of a naked<\/strong><\/a> boy. This carving may have a sexual meaning, or bear some relation to the concept of lust. In gargoyles, we sometimes see figures that represent the vices and sins of the clergy, as seen in other representations of marginal art (corbels, brackets, manuscripts, etc.).<\/p>\n

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\"arte<\/p>\n

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There is also a helmeted man<\/strong>, possibly a soldier, carrying a receptacle from which a creature is emerging. The man is grasping the creature \u2014 which also resembles a snail \u2014 by the neck. Although it has deteriorated, it is nonetheless a very atypical gargoyle.<\/p>\n

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\"arte<\/p>\n

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A demon<\/strong> with the head of a billy goat<\/strong><\/a> (horns, beard), membranous wings, a dragon-like body and enormous udders, which perhaps have a sexual meaning as they resemble women\u2019s breasts. Huddled alongside it on the left-hand side is a small, naked, anthropomorphic<\/strong><\/a> figure with cloven hooves. This gargoyle clearly has demonic connotations.<\/p>\n

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\"historia<\/p>\n

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There is also an ape<\/strong><\/a> in chains and carrying a drum, which it appears to be on the verge of beating with the drumstick in its hand. It is an extremely expressive figure. The figure of a monkey or ape, when it is in chains, represents the idea of sin conquered by faith and virtue.<\/p>\n

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\"\"<\/p>\n

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An anthropomorphic demon,<\/strong> with large ears, enormous fingers and wearing a short tunic, is grasping a lizard with both hands. Its expression is unsettling and grotesque, as it appears to be laughing.<\/p>\n

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\"iconograf\u00eda<\/p>\n

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The next gargoyle depicts a woman wearing a long dress<\/strong> with folds. Her left knee is resting on the ground while on her right knee sits a monkey, which she is supporting with her hands. Her features are those of an old woman, perhaps a witch. Monkeys have been used to symbolise sin, wickedness, cunning and lust, and can also represent man\u2019s lazy soul. Additionally, they have been used to symbolise the Devil, who is sometimes depicted in the form of an ape.<\/p>\n

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\"arte<\/p>\n

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There is also a demon<\/strong><\/a> with the tail of a snake, membranous wings, a beard, large eyes and cloven hooves. Its head is monstrous<\/strong> <\/a>in appearance.<\/p>\n

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\"demonio<\/p>\n

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Next is one of the most famous of La Lonja\u2019s gargoyles. This daring and highly explicit, even irreverent, sculpture depicts a naked woman<\/strong>, who is touching her genitalia. Her head is also very unusual, with its rope-like hair and enormous, protruding eyes. It is a magnificent and striking gargoyle, with sexual connotations and related to lust. Valencia was notorious for prostitution, particularly in the fifteenth century, when the city centre was home to one of the highest concentrations of brothels in the Mediterranean region. Perhaps the proximity of these brothels explains the presence of sexualised gargoyles such as this one, with their connections to vice and the sin of lust.<\/p>\n

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