[The Gargoyles Italian Dubbed Free Download
Ainoha Sistek
Last week I took a new route to reach a student in northern Rome. I was wandering around the streets close to Viale Regina Margherita when suddenly I was faced with a huge building that looked like something from an enchanted world. Turrets and towers soared into the air, angels and gargoyles covered the walls, and a fancy chandelier hung under a large archway.
A Madonna shrine was incorporated into the building, under a small iron roof. The lamp attached to it reminded me of the work of Scottish designer Charles Rennie Mackintosh, a contemporary of Copped who was influential in the Art Nouveau movement.
When not constructed as a waterspout and only serving an ornamental or artistic function, the technical term for such a sculpture is a grotesque, chimera, or boss. There are also regional variations, such as the hunky punk. Just as with bosses and chimeras, gargoyles are said to protect what they guard, such as a church, from any evil or harmful spirits.
The term gargoyle is most often applied to medieval work, but throughout all ages, some means of water diversion, when not conveyed in gutters, was adopted.[12] In ancient Egyptian architecture, gargoyles showed little variation, typically in the form of a lion's head.[13] Similar lion-mouthed water spouts were also seen on Greek temples, carved or modelled in the marble or terracotta cymatium of the cornice.[14] An excellent example of this are the 39 remaining lion-headed water spouts on the Temple of Zeus.[clarification needed] Originally, it had 102 gargoyles or spouts, but due to the heavy weight (they were crafted from marble), many snapped off and had to be replaced.[15][16]
Both ornamented and unornamented waterspouts projecting from roofs at parapet level were a common device used to shed rainwater from buildings until the early 18th century. From that time, more and more buildings used drainpipes to carry the water from the guttering roof to the ground and only very few buildings using gargoyles were constructed. This was because some people found them frightening, and sometimes heavy ones fell off, causing damage. In 1724, the London Building Act passed by the Parliament of Great Britain made the use of downpipes compulsory in all new construction.[20]
There are divided ideas as to the purpose of adding gargoyles to religious structures. Some state that gargoyles were meant to illustrate evil and sin, while others have posited that grotesques in architecture were apotropaic devices.[21] In the 12th century, before the use of gargoyles as rain spouts, St. Bernard of Clairvaux was famous for speaking out against gargoyles carved on the walls of his monastery's cloister:[22]
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.[23][24]
According to Lester Burbank Bridaham, writing in Gargoyles, Chimeres and the Grotesque in French Gothic Sculpture, "There is much symbolism in the sculpture of the Gothic period; but we must be wary of reading in too much meaning."[25]
In gothic architecturea gargoyle is a stone roof spout carved in the form of a grotesqueor fantastic creature designed to convey rain water away from the roof andexterior wall of a church, castle or other building. In precise terms, chimerasand grotesques, which do not function as water spouts, are not gargoyles, but certain forms of gargoyle are sometimes classified as functional grotesques.The classic gargoyles of gothic architecture are usually winged creaturesresembling dragons or birds, closely related to some of the winged beasts of heraldry, an artform born late in the twelfth century. The word comes to us from the Old French gargouille(literally "throat," akin to Latin gula and Italian gola), hence theterm gurgle.
Gothic gargoyles made their first appearance in the waning years of thetwelfth century, but they are a rarity in Sicily, where "Romanesque-Gothic"churches and castles rarely featured decorative roof spouts. It was thelater introduction of the Catalonian Gothic and Renaissance styles thatsaw the arrival of Sicily's first true gargoyles. The one shown on this pagemay be seen overlooking Via Alloro at Palermo's Palazzo Abatellis (nowone of several regional art museums in Sicily), which was constructed latein the fifteenth century, at the tail end of the Middle Ages, and resemblesa castle. The portico of Palermo Cathedral also has gargoyles.
The gargoyles of Palermo Cathedral's Catalonian Gothic portico actually resemble angels, whilethose of Palazzo Abatellis are clearly griffons - very appropriately since that winged beast figures in the Abatellis coat of arms. Historians have longdebated the irony in incorporating what appear to be mythological or evendemonic figures into the design of churches such as Notre Dame in Paris.One theory advanced in explanation is that the spirits represented by theseunsightly creatures could defend Christians against the far uglier demons,evils and sins which might seek to seduce the faithful into Hell. Anothersuggests that the gargoyles serve to remind Christians of what awaits theless devout if their souls indeed end up in the least pleasant of places.
Ugly though they may be, gargoyles are at least interesting. They'vefound their way into numerous neo-gothic structures across Europe and inthe Americas, where modernised stainless-steel gargoyles guard the ChryslerBuilding, a towering monument to the Art Deco movement.
Gargoyles do not enjoy the exalted place in Sicilian folklore that theydo in north-western Europe, where gothic motifs echo popular legend andeven heraldic symbolism. In Italy the Renaissance ensured a wholly differentspirituality reflected in the construction of giant cupolas, wide navesand pseudo-classical ornamentation based on a rediscovery of realism. Milan'sgiant gothic cathedral, where gargoyles abound outside despite bizarre neo-classicaltouches inside, was a prominent exception.
A pure Gothic architectural form might have found a place in Sicily duringthe reign of Frederick II, who sanctioned the constructionof Cologne Cathedral despite his running feud with that city's bishop. Alas, this was not to be, but Sicily's few gargoylesmaintain their silent vigil through the centuries.
Gargoyles by definition are waterspouts, but have come to mean any mythical decorative creature adorning a building. The gargoyles of Notre Dame in Paris are, of course, most famous. Rome is not noted for gargoyles. Roof adornment here more often are saints, but certainly there are creatures that could be included in the mythical creature category. Here are some of my favorites.
Gargoyles (also known as Gargoyles: The Goliath Chronicles for season 3) is an animated television series produced by Walt Disney Television Animation, in collaboration with Jade Animation and Tama Productions for its first two seasons and Nelvana for its final, and originally aired from October 24, 1994, to February 15, 1997. The series features a species of nocturnal creatures known as gargoyles that turn to stone during the day. After spending a thousand years in an enchanted petrified state, the gargoyles (who have been transported from medieval Scotland) are reawakened in modern-day New York City, and take on roles as the city's secret night-time protectors.
A true gargoyle is formed to have a spout that will direct water away from a building in order to prevent any erosion of the structure it is mounted on. More often than not, where there is one gargoyle there will be many more. Most architects would use multiple gargoyles around the building to ensure water could be dispelled at various places around the perimeter in an effort to minimize damage that a rainstorm could bring.
Returning to the idea that we associate gargoyles with medieval times, one of the most popular places for gargoyles during that time period was the church. As most living during medieval times were illiterate, visual representations were often necessary to get a point across. Gargoyles being present on the church insinuated that they were protecting the church from the evils of the outside world and that salvation from such evils could be found within the church itself. Many churches also utilized gargoyles shaped after creatures that pagans would worship which showed that the church had its doors open for them as well. This approach made the church seem like a welcoming place for all, pagans included.
On my recent trip through northern France, I was intrigued by all the gargoyles on the gothic churches and wondered why they were there. Then I came across this story which seems like a pretty reasonable explanation. Enjoy!
A fearsome monster had taken up residence in the marshes along the banks of the river. While he looked like your normal, garden-variety serpent/dragon, he was a bit different. Instead of breathing fire out his mouth, like most dragons, he belched out floods of water.
He was causing havoc along the river. He was sinking ships and eating the passengers, flooding fields and eating the people and animals that he drowned. Basically, he was eating anyone and anything that crossed his path.
When the day came to feed the dragon his annual human sacrifice, brave Father Romain and a nervous prisoner headed toward the marsh where La Gargouille lived. The prisoner would be used as bait to lure out the monster, and if all went well and the priest captured him, the prisoner was promised a pardon.
When they arrived at the city wall, people were amazed and terrified that the priest had brought the monster into their midst. But Father Romain assured them they were safe. They tied up La Gargouille, who offered no resistance, and Romain pronounced him guilty of his many crimes. As punishment, he was to be burned at the stake.
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