The Return of Notre-Dame’s Gargoyles

As the world-renowned Notre-Dame Cathedral prepares to reopen its doors on December 8, the famed gargoyles are making their return. However, this is far from their first restoration. These iconic figures are perhaps the most recognizable aspect of Notre-Dame, yet many may be surprised to learn that what we often refer to as gargoyles are not solely those grotesque sculptures. In fact, the majority of these stone figures were crafted after the release of Victor Hugo’s celebrated novel, The Hunchback of Notre-Dame.

Construction of Notre-Dame began in 1163, but it wasn’t until nearly a century later, in 1260, that the cathedral was deemed complete. Before the devastating fire in 2019, Notre-Dame attracted approximately 13 million visitors annually, making it one of the most popular tourist destinations in Paris. However, the cathedral faced significant challenges in the early 19th century, just weeks before its anticipated reopening.

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On January 10, 1997, a gargoyle perched atop Notre-Dame observed the bustling city of Paris below. These stone figures gained tremendous popularity through Hugo’s The Hunchback of Notre-Dame. Contrary to the memories of many who grew up with the Disney adaptation, the gargoyles in Hugo’s narrative were minor characters. Although Quasimodo often conversed with them in his solitude, they remained silent. Disney’s portrayal of animated gargoyles named Victor, Hugo, and Laverne has contributed to the misconception many now hold regarding gargoyles.

In reality, the figures we often mistake for gargoyles are known as chimaeras. These purely decorative statues, adorned with grotesque visages, lack the functional purpose of true gargoyles, which serve as water spouts to divert rain away from the cathedral’s walls. True gargoyles are believed to have existed since at least 600 CE, according to folklore.

A History of Violence

“One of the most famous and earliest tales about a gargoyle originates from Rouen, Normandy,” explains Dr. Andrew Marr, historian and founder of Visit Auvergne. “The legend tells of a dragon-like creature known as la gargouille, which terrorized Rouen in the 7th century. To appease this monster, the locals resorted to offering human sacrifices. This gruesome practice continued until a courageous Christian cleric named Romain confronted la gargouille, capturing it. The creature was subsequently burned, and its head was displayed on the town’s wall as a symbol of victory. This grisly trophy inspired sculptors to create their own renditions of gargoyles.”

The chimaeras that we now associate with Notre-Dame, serving as inspiration for the Disney characters, were added during the mid-19th century. Hugo’s The Hunchback of Notre-Dame, published in 1831, ignited a renewed interest in the cathedral, which was in dire need of repair at the time. This led to an extensive renovation project that spanned 21 years, from 1843 to 1864, making the current five-year renovation seem remarkably swift. Inspired by Hugo’s work, sculptors Eugène Viollet-le-Duc and Jean-Baptiste-Antoine Lassus introduced 56 new chimaeras to the cathedral’s façade while restoring and replacing many of the original gargoyles.

This latest restoration effort has engaged approximately 1,000 artisans, including a dedicated team of sculptors focused on the gargoyles and chimaeras. Outside the cathedral, a free photo exhibition entitled ‘Les Visages du Chantier’ is set to remain until December 31, celebrating the many individuals who have contributed to bringing Notre-Dame back to life.

Crafting Your Own Gruesome Creation

The fascination with chimaeras and gargoyles that Hugo reignited nearly two centuries ago continues to grow, especially with the anticipation surrounding Notre-Dame’s reopening. Sculptor Cécilia da Mota has found herself busier than ever. In her studio in Belleville, east Paris, she instructs her students in the art of carving their own Notre-Dame-style chimaeras, utilizing limestone sourced from the same quarry that supplied the original sculptures, La Carrière du Clocher in Bonneuil-en-Valois. Participants can create a lion’s head in as little as two days, while crafting a full chimaera takes a bit longer.

During a workshop in Belleville, I find myself enveloped in a cloud of limestone dust, resembling a scene from a flour explosion. The stone blocks must be meticulously chipped and carved—there’s no room for adding or gluing. After shaping the blocks into rough forms of lions or gargoyles, smaller details are etched using picks and hammers, while finer adjustments require a variety of metal files. Dust continues to swirl around, leaving our clothes speckled and our faces coated in a fine layer.

As we work on our lion heads and chimaeras, we draw inspiration from plastic lion figures, photographs of chimaeras, and plaster models. Each participant is guided by the same instructions, and while chimaeras are intended to be grotesque to ward off evil spirits, some of our creations lean more toward the friendly lion from The Lion King than the menacing Scar.

Photos adorning the studio showcase da Mota working on chimaeras for historical monuments across France, alongside several sculptures of stone labia. Carving chimaeras is not always a full-time endeavor for her; she also creates sculptures intended for gynaecologists. The “grotesque” expressions of both chimaeras and gargoyles were historically thought to repel evil spirits, and da Mota often describes her workshops as a form of art therapy.

“Many of my clients feel unhappy or unfulfilled in their jobs,” comments da Mota. “Engaging with the stone provides them with a creative outlet.”

However, it seems that this may be the only way in which chimaeras can be said to ward off malevolent forces. Dr. Marr suggests that rather than serving as deterrents, gargoyles and chimaeras may actually symbolize demons. “In the Middle Ages, Satan was perceived as the ruler of the air, so these figures might represent aerial demons,” he explains. “Another interpretation is that they serve as iconography, depicting sinners or demons that God has transformed into stone. This notion echoes the Biblical tale of Lot’s wife, who was turned into a pillar of salt for looking back at the doomed city of Sodom.”

Though Notre-Dame will welcome the public starting December 8, with newly carved gargoyles and chimaeras now in place, certain areas of the cathedral, including the towers and treasury, are not set to open until 2026. Reservations for the eagerly awaited reopening are expected to be available in late November through an app organized by the city tourism board. Admission has always been free, so visitors should remain vigilant against potential scam sites.