The gargoyle workshop in Paris has been buzzing with activity as Notre-Dame Cathedral prepares for its highly anticipated reopening on December 8, following five years of extensive renovations involving over 1,000 skilled artisans, including sculptors and stained glass glaziers. These efforts have breathed new life into the iconic structure after the devastating fire on April 15, 2019.
As one of the cathedral’s most recognizable features, the gargoyles have returned, although their current iteration is far from their original forms. Interestingly, many of the grotesque statues we associate with Notre-Dame today were actually carved after the publication of Victor Hugo’s seminal novel, The Hunchback of Notre-Dame.
Construction of Notre-Dame began in 1163, with its completion marked in 1260. Prior to the fire, it was among the most visited sites in Paris, attracting approximately 13 million visitors annually. However, the cathedral faced significant deterioration in the early 19th century, prompting a major restoration project that followed Hugo’s literary revival of interest in the monument.
The gargoyles we commonly envision were popularized through Hugo’s work, yet in the novel, they play only minor roles. While Quasimodo interacts with them in his solitude, they remain silent figures. Disney’s animated adaptation further distorted public perception, transforming the chimaeras—purely decorative sculptures with grotesque faces—into lively characters. True gargoyles, in contrast, serve a functional purpose, featuring water spouts to direct rain away from the building.
Historically, gargoyles date back to at least 600 CE. Dr. Andrew Marr, a historian and founder of Visit Auvergne, recounts a well-known legend from Rouen, Normandy, where a dragon-like creature known as la gargouille demanded sacrifices from the townspeople until a courageous cleric named Romain captured and executed it. Its head was displayed as a trophy, inspiring later gargoyle designs.
The chimaeras that adorn Notre-Dame, reminiscent of Disney characters, were added during a significant renovation from 1843 to 1864, led by architects Eugène Viollet-le-Duc and Jean-Baptiste-Antoine Lassus. This effort was sparked by the renewed interest generated by Hugo’s novel.
Currently, about 1,000 artisans are involved in the cathedral’s restoration, including teams dedicated to the gargoyles and chimaeras. Outside Notre-Dame, a free photo exhibition titled “Les Visages du Chantier” will remain open until December 31, showcasing the many individuals who have contributed to this monumental project.
The fascination with chimaeras and gargoyles, revived by Hugo nearly 200 years ago, continues to grow. Sculptor Cécilia da Mota is experiencing an uptick in interest as she teaches students to carve their own versions of these mythical creatures using limestone sourced from the same quarry as the original sculptures.
During a workshop in Belleville, east Paris, participants learn to sculpt their own lion or chimaera heads. The process is messy, with limestone dust filling the air, but under da Mota’s guidance, they create unique works inspired by the cathedral’s legacy.
Da Mota notes that her workshops often serve as a form of art therapy for those seeking a creative outlet. The grotesque faces of chimaeras and gargoyles are believed to have been designed to ward off evil spirits, although some experts suggest these figures may actually symbolize the demons themselves, reflecting medieval beliefs about the forces of the air.
While Notre-Dame will reopen to the public on December 8 with the newly restored gargoyles and chimaeras, certain sections, including the towers and treasury, will remain closed until 2026. Reservations for visits will be available starting late November through a city tourism app, with tickets remaining free to the public—beware of potential scams.
