The Medieval Grotesque

The word grotesque does not appear in that form until the 1560s, though now it is used to refer to illustrations and carvings from much earlier eras. It is from Italian grottesca ("of a cave") from Italian grotto ("cave") because it was first used to refer to paintings found in basements in the ruins of Classical Era Rome, specifically the palace complex begun by Nero in 64CE that had been abandoned and buried long ago.

We see grottesca used in Italy in a 1502 contract in which Raphael Sanzio da Urbino (better known to the Modern Era simply by his first name) agrees to decorate the Piccolomini Library attached to Siena Cathedral.

Not everyone appreciated the fanciful designs. One artist complained about

this insatiable desire of man sometimes prefers to an ordinary building, with its pillars and doors, one falsely constructed in grotesque style, with pillars formed of children growing out of stalks of flowers, with architraves and cornices of branches of myrtle and doorways of reeds and other things, all seeming impossible and contrary to reason... [link]

We use the word to describe three-dimensional art such as gargoyles. If you wanted to categorize types of grotesques in two-dimensional art, you will often see hybrids such as the illustration to the left. Another type is a strange juxtaposition or anthropomorphism such as a rabbit jousting with lance and sword, using a hybrid snail for a horse.

Sculptural grotesques originally were used for waterspouts in medieval architecture, but became their own genre of architectural decoration. Despite the complaint noted above, folk like the monk who designed Salisbury Cathedral did not hesitate to add grotesque figures that had no function other than to provide decoration. Salisbury, in fact, shows a more consistent architectural style than most other cathedrals, owing to its swift completion: 38 years, as opposed to generations for most gothic structures. In fact, Salisbury Cathedral is a good subject for the next post. See you soon.

Gargoyles!

Large stone buildings intended to last for centuries, such as examples of Gothic Architecture, would be exposed to ages and ages of rainwater running down the sides and eroding the mortar. The solution was to devise a channel that would carry water away from the side of the building. The channel was thought of as a "throat" or "gullet" carrying water, and the French term for that was gargouille from the root gar "to swallow."

Not all gargoyles are waterspouts. In Italian architecture, a distinction is made between the carved creature used as a waterspout and called a gargolla or garguglia, and a carving designed simply to carry water away from the building, which is called gronda sporgente, literally "protruding gutter."

A late-14th century legend of St. Romanus explained the origin of the term as the name of a dragon; a good story, but pretty silly.

Long before the Romanus legend, Bernard of Clairvaux in the 12th century commented on gargoyles:

What are these fantastic monsters doing in the cloisters before the eyes of the brothers as they read? What is the meaning of these unclean monkeys, these strange, savage lions and monsters? To what purpose are here placed these creatures, half beast, half man or these spotted tigers? I see several bodies with one head and several heads with one body. Here is a quadruped with a serpent's head; there a fish with a quadruped's head; then again an animal: half horse, half goat... Surely, if we do not blush for such absurdities, we should at least regret what we have spent on them.

The origin of gargoyles that were not waterspouts is up for debate: Bernard doesn't seem to know why they were there. One theory is that they were illustrations of sin or evil, designed to make you glad you were a good Christian. Another thought is that they guarded the church.

If a carving of a creature was not a waterspout, it was a grotesque. The medieval grotesque needs its own explanation, which you will get tomorrow.