Notre Dame Gargoyles: The Complete Guide to Paris’s Gothic Guardians

When you stand before Notre Dame Cathedral, one of the most captivating features might catch your eye high above the city—the mysterious gargoyles and chimeras perched on the cathedral’s towers. These stone creatures, with their haunting expressions and dramatic poses, have watched over Paris for centuries. But what are they really? Why are they there? And how did they survive the devastating fire of 2019? Let’s explore the fascinating world of Notre Dame‘s Gothic guardians.

These enigmatic sculptures have captured imaginations for generations. From Victor Hugo’s romantic descriptions in “The Hunchback of Notre Dame” to Disney’s animated friends of Quasimodo, gargoyles have become synonymous with Gothic architecture and medieval mystery. Yet most visitors don’t realize that what they’re photographing aren’t actually gargoyles at all—they’re chimeras, a entirely different type of sculpture with a completely different purpose.

The distinction matters because it reveals layers of history, engineering genius, and artistic vision that span nearly nine centuries. The true gargoyles of Notre Dame are functional masterpieces of medieval hydraulic engineering, while the famous “gargoyles” tourists photograph are 19th-century Romantic additions that tell their own fascinating story of cultural preservation and artistic revival.

In this complete guide, we’ll unravel the mysteries of these Gothic guardians. You’ll discover the engineering brilliance behind true gargoyles, meet the individual chimeras by name, learn how they survived one of history’s most dramatic fires, and find out exactly where and when to see them for yourself. Whether you’re planning a visit to Paris or simply fascinated by medieval art and architecture, this journey into the world of Notre Dame‘s stone sentinels will change how you see this iconic cathedral forever.

Victor Hugo as Dante in front of the gate of hell, with one of Viollet-le-Duc’s chimeras beside him, all of Notre Dame’s 19th-century Renaissance and poetry summarized in one Marvelous drawing, titled “La vision du poète“, 1883, by French artist Pilotell.

Notre Dame Cathedral with its famous gargoyles and chimeras gallery between and around the towers.

These sculptures have become iconic symbols of Gothic architecture, instantly recognizable worldwide. They appear on countless postcards, inspire tattoos, feature in films and novels, and rank among the most photographed elements of Notre Dame. For many visitors, seeing these creatures up close—either from ground level with a telephoto lens or by climbing the 387 steps to the tower gallery—represents a highlight of their Paris experience.

Yet despite their fame, tremendous confusion surrounds these figures. Most people call them all “gargoyles,” but this isn’t quite accurate. The collection includes both true gargoyles and chimeras—two distinct types of sculpture with entirely different purposes and histories. Understanding this distinction opens up a deeper appreciation of Notre Dame‘s architectural complexity and the layers of history embedded in its stones.

The true gargoyles date from Notre Dame‘s medieval construction period, built between 1163 and 1345. They’re functional elements of the cathedral’s drainage system, engineered to protect the building from water damage. The chimeras, on the other hand, are purely decorative sculptures added during a major 19th-century restoration. They serve no structural purpose but represent a different kind of historical testimony—the story of Gothic Revival and France’s relationship with its medieval heritage.

What makes Notre Dame‘s collection particularly special is this combination of authentic medieval engineering and 19th-century artistic vision. Together, they offer a unique window into both the practical genius of medieval builders and the romantic imagination of Victorian-era restorers. The gargoyles demonstrate how Gothic architects solved complex engineering problems with creativity and artistry, while the chimeras reveal how 19th-century France reinvented and reimagined its medieval past.

2. gargoyles vs. chimeras: Understanding the Difference

Before we delve deeper into Notre Dame‘s stone guardians, we need to clear up the single most common misconception about these sculptures. When tourists point their cameras at the dramatic figures on Notre Dame‘s towers, they’re almost always photographing chimeras, not gargoyles. The distinction isn’t mere pedantry—it reflects fundamental differences in purpose, design, age, and meaning.

Four gargoyles on the north side of Notre Dame Cathedral broaden horizons on a Notre Dame private tour.

Actual gargoyles serving their original function as a water spout at Notre Dame. Two gargoyle levels are visible in the photo: The upper one, which is receiving the water from the cathedral roof via the flying buttresses, and the lower one, which is receiving the waters of the roof of the north lateral nave of the cathedral. The Photo is taken from rue du Cloître-Notre-Dame.

A chimera—purely decorative sculpture with no water drainage function. View from the East (rear) part of the north tower, in the background are visible the Viollet-le-Duc roof and spire that were destroyed in the April 2019 fire.

Why Does This Matter?

Understanding the gargoyle-chimera distinction matters for several reasons. First, it clarifies the timeline: true gargoyles are medieval (13th-14th centuries) or at least of medieval origin (see next section 3), while the famous chimeras are 19th-century creations. This 500-year age gap represents fundamentally different historical periods, artistic sensibilities, and cultural contexts.

Second, the distinction reveals different aspects of craftsmanship. Medieval gargoyles demonstrate the Gothic approach to integrating form and function—creating beauty from necessity. The 19th-century chimeras reflect Romantic-era fascinations with medieval themes, Gothic revival aesthetics, and the cultural movement to preserve and reimagine France’s medieval heritage.

Third, conflating gargoyles and chimeras obscures the remarkable engineering achievement that true gargoyles represent. Medieval builders didn’t just solve a drainage problem—they solved it with such creativity and artistry that their functional water spouts became iconic elements of Gothic architecture. That deserves recognition distinct from purely decorative sculpture, however beautiful.

The confusion between gargoyles and chimeras isn’t entirely the visitors’ fault. Victor Hugo’s 1831 novel “Notre-Dame de Paris” (known in English as “The Hunchback of Notre Dame“) used the terms somewhat interchangeably and romanticized all of Notre Dame‘s grotesque sculptures without always distinguishing their functions^[2]. This literary treatment, while artistically powerful, contributed to the popular conflation of the two types of sculpture.

Moreover, in casual usage, “gargoyle” has become a catch-all term for any grotesque medieval-looking sculpture, regardless of function. While this linguistic evolution is natural, it’s worth reclaiming the precise terminology when discussing Notre Dame‘s specific sculptures, because each type tells a different story about the cathedral’s history and purpose.

3. The History of Notre Dame‘s Gargoyles

The true gargoyles of Notre Dame emerged from the cathedral’s earliest construction phases, born from both practical necessity and the creative problem-solving that characterized Gothic architecture. To understand these medieval marvels, we need to step back to 12th-century Paris and the ambitious project that would create one of Christianity’s most celebrated churches.

Medieval Origins (1163-1345)

Notre Dame‘s construction began in 1163 under Bishop Maurice de Sully, who envisioned a cathedral that would reflect Paris’s growing importance and the architectural innovations of the early Gothic period. The project would span nearly two centuries, with the basic structure completed by 1260 while modifications and additions continuing until 1345.

From the beginning, the cathedral’s Gothic design created challenges that required innovative solutions. The architecture featured high walls punctuated by large windows, soaring vaulted ceilings, and an elaborate roof structure—all elements that collected and channeled substantial amounts of rainwater. Traditional Romanesque approaches to drainage wouldn’t suffice for this new style of building.

The Gothic solution was to extend stone channels outward from the roof’s edge, creating waterspouts that would throw rainwater well clear of the walls. These projecting spouts needed to be strong enough to support their own weight plus the weight of flowing water, yet light enough not to create excessive stress on the walls. Stone carving provided the answer—hollowed channels carved from limestone blocks, engineered to be both sturdy and functional.

Even if not obvious, because of their height and consequently their distance from observers, gargoyles may be quite large, up to more than 3 meters long and weighing more than a ton. This makes them extremely dangerous in case of a fall. A 13th-century monk reports the story of an usurer who was killed by a stone figure representing a usurer that accidentally fell on him, on the forecourt of the Dijon Cathedral, as he was about to get married. Nevertheless, the moralistic aspect of the story (an usurer is a person who lends money at excessively high interest rates, often exploiting borrowers, which was extremely poorly regarded in the Middle Ages), put substantial doubt on it.

Gargoyles in Palais du Tau, Reims. Because of the 1914 fire, there is melted lead in their channel instead of water.

But medieval craftsmen didn’t stop at mere functionality. In keeping with the Gothic aesthetic that saw every element of church architecture as a potential vehicle for religious and moral teaching, these necessary drainage spouts became canvases for artistic expression. Even if in some cases gargoyles were non-ornate, in most cases, master stone carvers transformed them into fantastical creatures: dragons, demons, animals both real and imaginary, grotesque human faces, and hybrid beasts that defied natural classification.

Nevertheless, gargoyles can be classified into four categories:

1. Zoomorphe (representing animals)
2. Anthropomorphe (representing human beings)
3. Hybride (half human, half animal) 
4. Non-ornate (exclusively functional)

 Knowing that the first three categories also apply to chimeras or grotesques, but obviously not the last one (non-ornate). An ultimate category of gargoyles does exist, the xenomorph one (extraterrestrial), but it does not apply to the Middle Ages, as we know there is only one example in the world, which is in the 14th-century Paisley Abbey (Scotland), but was created during a 1991 restoration of some of its gargoyles.    

Returning to the original medieval gargoyles, they were scattered around the entire cathedral at various heights, positioned wherever roof drainage required them. Unlike the later chimeras concentrated in a single visible gallery, the actual gargoyles served their function wherever engineering dictated they were needed—high on the roof edge, along the nave, surrounding the apse, flanking the towers.

The Medieval Worldview

To medieval people, these gargoyles carried meanings that went beyond water drainage. The Gothic cathedral was understood as a representation of the cosmos—a physical manifestation of divine order and spiritual truth. Every element, from the soaring height that lifted eyes and thoughts toward heaven, to the play of light through stained glass, served theological purposes.

Gargoyles occupied a particularly significant position in this symbolic system. Placed on the exterior of the sacred building, they literally inhabited the boundary between the consecrated space of the church interior and the profane world outside. Their grotesque, often demonic appearances weren’t random artistic choices but deliberate theological statements.

One interpretation held that these fearsome figures served an apotropaic function—that is, they warded off evil. The logic was simple: evil spirits would be frightened away by creatures even more grotesque than themselves. It was a kind of spiritual deterrence, using ugliness to repel malevolent forces that might threaten the sacred space. In this view, gargoyles functioned as stone guardians, eternal sentinels protecting the church and its faithful.

Another interpretation saw gargoyles as moral warnings—representations of sin, vice, and the spiritual dangers that lurked outside the protective embrace of the Church. Their grotesque forms embodied the ugliness of sin and the monstrous consequences of turning away from God. For medieval Christians, passing beneath these creatures to enter the cathedral provided a visceral reminder of what they were leaving behind and what they were entering into.

The gargoyles also served an educational purpose. In an era when most people couldn’t read, visual representations carried enormous importance for religious instruction. The animals and creatures carved into gargoyles often represented specific vices or virtues, biblical stories, or moral lessons. A trained medieval eye could “read” these stone sculptures much as we might read text today.

Victor Hugo by Nadar – 1884.

4. The 19th Century Addition: Viollet-le-Duc’s chimeras

Architect Eugène Viollet-le-Duc, who led Notre Dame‘s 19th-century restoration (1844-1864)

Victor Hugo, The Hunchback of Notre-Dame, illustration by Luc-Olivier Merson, 1881.

Modern-day facade of Notre Dame Cathedral with the Chimeras added by Viollet-le-Duc.

The Stryga or Thinker chimera at Notre Dame, a demon contemplating Paris with chin in hands. It is the most famous chimera.

The Eagle, the Man-lion, the Little elephant, and the Leopard on the south face of Notre Dame’s north tower.

The Horned Demon—embodying the Gothic horror aesthetic that made Notre Dame‘s chimeras famous

5. Function and Purpose: Engineering Meets Art

While chimeras exist purely for decoration, true gargoyles represent one of Gothic architecture‘s most elegant solutions to a practical problem. Understanding how and why gargoyles work reveals the ingenious thinking that characterized medieval master builders—craftsmen who combined engineering precision with artistic imagination to create functional elements that also served as sculptural masterpieces.

The Engineering Genius of Gothic Gargoyles

The challenge facing Notre Dame‘s builders was straightforward: water flows downhill. The cathedral’s vast roof—covering approximately 1,000 square meters—collected enormous volumes of rainwater. A single heavy rainstorm could dump thousands of liters of water onto this surface. That water had to go somewhere, and if it simply ran down the walls, disaster would follow.

Water is stone’s enemy. When rainwater constantly runs down a building’s exterior walls, it gradually dissolves the mortar holding the stones together. It soaks into porous limestone, and when temperatures drop below freezing, the water expands, creating cracks. Over time, this freeze-thaw cycle can literally tear stonework apart. Water pooling at the building’s base undermines foundations, creating settlement problems that can destabilize entire walls.

Medieval builders needed to channel water away from the cathedral’s walls and foundation. The Gothic solution was characteristically clever: create stone waterspouts that projected outward from the roof’s edge, throwing water clear of the building. These projecting spouts—gargoyles—extended up to two meters beyond the wall, ensuring rainwater landed far from the foundation.

The engineering was sophisticated. Inside each gargoyle runs a carefully carved channel that connects to the roof’s gutter system. Water flows from the roof into these channels and through the gargoyle’s hollow interior, finally exiting through an opening—typically carved as the creature’s mouth. The channel must maintain a slight downward slope to ensure water flows smoothly without pooling inside the stone.

The projection distance matters enormously. A gargoyle extending two meters from the wall throws water approximately two to three meters from the building’s base (depending on the height and water pressure). This distance prevents splashback against the walls and keeps groundwater away from foundations. It’s a remarkably effective system that has protected Notre Dame‘s walls for over 800 years.

The structural challenge shouldn’t be underestimated. These gargoyles aren’t lightweight decorations—they’re solid stone sculptures weighing hundreds of kilograms, projecting far from the wall with no support except their connection point. They must resist their own weight, the weight of flowing water, wind loads, thermal expansion and contraction, and the occasional landing bird. Medieval stone carvers calculated these forces intuitively, sizing the connection points and interior walls to provide adequate strength while minimizing weight.

Why Not Just Use Pipes?

A modern observer might ask: why not simply use lead pipes or downspouts? Some medieval buildings did employ lead pipes for drainage, but Gothic architects preferred exposed stone waterspouts for several reasons.

First, visibility mattered for maintenance. When a gargoyle becomes clogged with debris—leaves, nesting birds, accumulated soot—the problem becomes immediately obvious because water backs up or overflows in visible ways. Internal pipes can fail invisibly, with water leaking inside walls where damage occurs undetected for years.

Second, durability favored stone. Lead pipes corrode, especially in an era before modern metallurgy and protective coatings. Stone, properly carved and maintained, can last centuries. The evidence surrounds us—some of Notre Dame‘s original medieval gargoyles remain functional after more than 800 years.

Third, cost and availability played roles. Lead was expensive. Stone carvers were already on site, and limestone was relatively abundant in the Paris region. Commissioning carved gargoyles represented an incremental cost rather than requiring entirely different materials and craftsmen.

But perhaps most importantly, the Gothic worldview couldn’t abide purely functional ugliness. If drainage spouts were necessary, why not make them beautiful—or at least memorable? This wasn’t frivolous decoration; it reflected a fundamental belief that functional objects could and should serve higher purposes. Even a waterspout could teach moral lessons, demonstrate craftsmanship, and contribute to the cathedral’s overall symbolic program.

Modern Drainage Systems

Today, Notre Dame‘s drainage combines original medieval gargoyles with modern supplements. Some of the original gargoyles remain functional, performing their 800-year-old task. Others have been supplemented with modern drainage systems—either because the original gargoyles eroded too severely or because modern building codes require additional drainage capacity.

Conservation presents ongoing challenges. When a gargoyle erodes or becomes damaged, conservators must decide: repair the original, replace it with a replica, or substitute a modern drainage solution? Each choice involves tradeoffs between historical authenticity, functional performance, and cost.

The 2019 fire didn’t significantly damage the gargoyle drainage system—the stone waterspouts survived the flames that destroyed the roof. However, the restoration included reassessing the entire drainage system, as the new roof design incorporates modern elements that may require updated water management. This raises questions about how to integrate 21st-century building technology with 13th-century engineering while maintaining the cathedral’s historic character.

6. medieval Symbolism and Meaning

To medieval eyes, Notre Dame‘s gargoyles were far more than drainage spouts or decorative flourishes. They occupied a complex symbolic position in a worldview where every element of church architecture carried theological significance. Understanding these symbolic dimensions reveals how deeply medieval Christians invested even functional architectural elements with spiritual meaning.

Demonic gargoyles were believed to protect the cathedral by frightening away evil spirits

Some scholars argue that gargoyles represented demons that had been captured or tamed by the power of the Church. Unable to enter the consecrated building, these demonic forces were literally incorporated into its walls, transformed from threats into protectors. This interpretation sees gargoyles as visual representations of Christianity’s power to convert and redirect even evil forces toward good purposes.

Moral Lessons and Warnings

Another interpretive tradition viewed gargoyles as moral warnings—visual sermons about the consequences of sin and the ugliness of vice. In an era when most people couldn’t read, churches used sculpture, painting, and architecture as teaching tools. Every element of the building’s decoration potentially conveyed theological or moral messages.

Different creatures represented specific vices or moral failings. A dragon might represent Satan or heresy. A lion could symbolize either Christ’s power (when depicted majestically) or destructive pride (when shown devouring someone). Dogs might represent fidelity or, in certain contexts, greed. Eagles signified divine power and the aspiration toward heaven—or, inverted, the dangers of excessive ambition.

Hybrid creatures—beings composed of parts from multiple animals—represented chaos, disorder, and the corruption of natural order that resulted from sin. medieval theology viewed God’s creation as ordered and harmonious; creatures that violated natural categories embodied rebellion against divine order. A gargoyle combining a human head with an animal body might represent the bestial nature that emerges when humans abandon reason and morality.

For medieval Christians entering the cathedral, passing beneath these grotesque figures provided a visceral reminder of what they were leaving behind. The gargoyles embodied the spiritual dangers of the world outside—temptation, vice, sin, and evil—all the forces that threatened souls. Entering the church meant passing through this gauntlet of ugliness into the sacred space where beauty, order, and divine grace prevailed.

Humor and Human Nature

Not all gargoyles carried such weighty symbolism. Medieval craftsmen also had a sense of humor, and this shows in some of their creations. Gargoyles depicting monks or clergy in unflattering poses suggest social satire. Figures showing people in embarrassing situations or comical predicaments reveal that medieval stone carvers could enjoy irreverent humor alongside solemn religious themes.

Some gargoyles show human faces contorted in exaggerated expressions—shouting, grimacing, sticking out tongues. These may have served as informal signatures or inside jokes among the craftsmen, or they might have represented popular folk beliefs and superstitions that existed alongside official Church doctrine. Medieval Christianity wasn’t as uniformly solemn as we sometimes imagine; it incorporated folk traditions, local beliefs, and very human humor.

The gargoyles positioned high on the building, barely visible from ground level, sometimes show particularly playful or bawdy details—suggesting that stone carvers knew they had some freedom in locations where only birds and God would notice the finished work. This reveals medieval craftsmen as real people with personalities and sense of humor, not anonymous servants executing church-dictated programs.

The Threshold Between Worlds

Perhaps the most sophisticated interpretation sees gargoyles as occupying and marking a crucial boundary. Medieval theology drew sharp distinctions between sacred and profane space. The church interior was consecrated—set apart as holy ground where normal rules were suspended and the divine presence made manifest. The world outside remained profane—ordinary, tainted by sin, separated from divine grace.

The boundary between these realms wasn’t arbitrary or invisible. Church architecture made it tangible through elements like thresholds, doorways, and facade sculptures. Gargoyles, positioned on the exterior walls and facing outward, marked this boundary from the outside. They inhabited a liminal space—neither fully inside nor outside, neither wholly part of the sacred space nor entirely relegated to the profane world.

In anthropological terms, such liminal figures often serve important symbolic functions. They mediate between realms, embodying the transition point where one state transforms into another. Gargoyles, in this interpretation, represented the threshold itself—the place where profane becomes sacred, where the ordinary world gives way to the extraordinary reality of divine presence.

This explains why gargoyles were grotesque rather than beautiful. Beauty belonged inside the church—in the architecture, the art, the ceremony, the music. Ugliness remained outside. Gargoyles, occupying the boundary, embodied both realms: they were crafted with artistic skill (participating in sacred beauty) but depicted grotesque subjects (remaining connected to profane ugliness). They were literally threshold figures, marking and guarding the passage between worlds.

7. Famous Individual gargoyles and chimeras

While Notre Dame hosts dozens of sculptured figures, certain individuals have achieved celebrity status. These particular chimeras—remember, the famous ones are almost all decorative chimeras, not functional gargoyles—have become icons in their own right, appearing in countless photographs, artworks, and popular culture references. Each has its own personality, its own story, and its own following among visitors and photography enthusiasts.

What makes these creatures so compelling isn’t just their grotesque appearance or dramatic positioning. It’s the sense that each embodies a distinct character, as if sculptor Emmanuel Frémiet and his team breathed individual personalities into the stone. Some appear fierce and menacing, others contemplative or melancholy, still others curious or even whimsical. Together, they populate the Gallery of chimeras like a cast of eternal stone actors, each playing their role in Notre Dame‘s ongoing theatrical display.

Created by Emmanuel Frémiet in the 1850s, the Stryga gained fame rapidly; here, interpreted as “The Vampire” by Charles Meryon 1853.

Another representation of the Stryga by Auguste Louis Lepère in 1890.

The Wyvern chimera—a two-legged dragon with dramatically twisted neck. Photo by Séraphin-Médéric Mieusement, Licence Ouverte 1.0

The Small Elephant Chimera, a touch of 19th-century Orientalism on a Gothic cathedral (south face of the north tower).

The Griffin: Classical Mythology Meets Gothic Architecture

The Griffin chimera combines features of an eagle and a lion—the eagle’s head, wings, and talons joined to a lion’s body and hindquarters. This classical creature, with roots in ancient Greek and Persian mythology, found its way into medieval Christian symbolism, where it represented Christ himself: the eagle (divine nature) joined with the lion (earthly kingship).

Among the chimeras, the griffin has perhaps the most authentic medieval precedent. These creatures appeared frequently in medieval art and architecture, unlike some of Frémiet’s more imaginative creations. Including a griffin allowed the 19th-century restoration to connect with genuine Gothic tradition while still creating something new and distinctive.

The griffin’s pose at Notre Dame conveys alertness and readiness—qualities appropriate to both guardians and hunters. Its eagle’s head turns sharply, scanning the approaches to the cathedral, while its leonine body remains coiled, ready to spring. This creature embodies vigilant protection rather than the more passive contemplation of the Stryga or the whimsy of the Elephant.

North Tower. Pelican chimera—Christian symbol of self-sacrifice and redemption. 

Drawing of the female Pelican chimera on the rear part of the south tower; the male one is on the rear part of the north tower.

The Cerberus, the Symbol of Thresholds and Protection

Among the many fantastic creatures that populate Gothic art, Cerberus occupies a fascinating place. In ancient Greek mythology, he was the three-headed dog guarding the entrance to the underworld, a creature both feared and respected for his role as protector of forbidden realms. Medieval artists later reimagined this mythic guardian through a Christian lens, transforming him into a symbol of vigilance and moral order. On the façades of cathedrals like Notre-Dame de Paris, the figure of Cerberus does not simply recall a pagan legend; it embodies the idea of guarding the threshold between the profane and the sacred. Dante, in The Divine Comedy, also gave new life to Cerberus as the monstrous keeper of the gluttonous souls, emphasizing his role as both punisher and protector. In Gothic sculpture, his multiple heads and fierce expression evoke the struggle between chaos and faith, fear and salvation. Thus, Cerberus becomes not just a mythological beast, but a timeless emblem of moral vigilance — a sentinel carved in stone to remind all who enter of the mystery and power of the sacred.

Notre Dame Horned Demon chimera at the North West corner of the South tower. In the background, Saint-Michel, Saint Sulpice, the Invalides, and the Eiffel Tower.

The Wild boar: the eastern part of the north tower.

Three extra world-famous Notre Dame Gargoyles: Victor, Hugo, and Laverne

Last, but not least, there are three other world-famous Notre Dame Gargoyles: Victor, Hugo, and Laverne. These three fictional Gargoyles are among the main characters in Disney’s 1996 animated film “The Hunchback of Notre Dame“. Victor and Hugo are obviously named after Victor Hugo; meanwhile, Laverne is named after Laverne Andrews of the Andrews Sisters, a close-harmony singing group from the swing and boogie-woogie eras. Also see on section 11. “The Gargoyles in Popular Culture.”

Notre Dame Cathedral in fire, April 15th 2019.

Why They Survived When the Spire Didn’t

The fire primarily affected Notre Dame‘s wooden roof structure—the elaborate medieval timber framework known as “the forest” because of its density of wooden beams. This roof, covered with lead sheeting, burned intensely once the fire reached it. The heat was so extreme that the lead roofing melted and dripped into the cathedral’s interior. The 19th-century spire, also made of wood and covered with lead, collapsed entirely^[6].

The gargoyles and chimeras survived primarily because they’re made of stone—specifically, the same limestone used throughout the cathedral’s construction. Stone doesn’t burn. While extreme heat can damage stone (causing cracking, spalling, or discoloration), limestone can withstand temperatures far exceeding those of a wood fire before suffering structural failure.

Equally important was location. The gargoyles and chimeras occupy positions on the cathedral’s towers and external walls. The fire’s epicenter was the roof and spire—the building’s upper interior structure. The towers, being solid stone construction located at the cathedral’s western end, remained relatively distant from the most intense flames. The Gallery of Chimeras, situated on the exterior of the main facade (west), was not directly in contact with the main fire (with the notable exception of the rear northeast angle, see following paragraph).

There’s something symbolically fitting about the survival of these Gothic guardians. They were designed, at least in their medieval incarnations, to protect the cathedral from water damage. During the fire, they witnessed flames consuming the roof and spire but remained at their posts, ultimately outlasting the disaster. The limestone that medieval craftsmen carved into waterspouts and Victorian sculptors shaped into chimeras proved more durable than the timber and lead that formed the roof structure.

View of the flames of the Notre Dame fire reaching the gargoyles at the rear of the south tower. April 15th, 2019, at 7.51 PM. Credit: LeLaisserPasserA38 CC BY-SA 4.0.

Technically, the restitution of the gargoyles followed a two-step process:  Firstly, resin copies were made from 3D computer scans of the damaged gargoyles. Secondly, professional stone sculptors recreated the gargoyles in Parisian limestone. To translate the resin copy into limestone replicas, the Notre-Dame sculptors used a traditional pentograph, the same tool Rodin used for his agrandissement (enlarged sculptures).

If you are an actual Gargoyles fan, one of the Notre-Dame gargoyle sculptors organizes workshops “Sculpter votre Gargouille” in which you will learn to sculpt your own gargoyle.     

The cathedral’s restoration, officially scheduled for completion by December 2024 (later extended through 2025), prioritizes the roof, spire, interior vaulting, and structural stability. The gargoyles and chimeras, being intact and not immediately threatened, rank lower on the restoration priority list. They’ll receive attention eventually—cleaning, assessment, minor repairs where needed—but this will come after the more critical structural work is complete^[7].

The fire paradoxically increased interest in the gargoyles and chimeras. Images of them silhouetted against smoke and flames became iconic representations of the disaster and the cathedral’s resilience. Their survival became a metaphor for Notre Dame itself—damaged but not destroyed, enduring through catastrophe as they’ve endured through centuries of other challenges.

9. How to See the gargoyles Today

Experiencing Notre Dame‘s gargoyles and chimeras requires some planning, especially in the post-fire era as restoration continues.

The good news is that multiple viewing options are available, each offering different perspectives and levels of detail. Whether you prefer distant views that provide context or close encounters that reveal sculptural details, you can find ways to appreciate these Gothic guardians.

Photo of Notre Dame gargoyles viewed from the east of rue du Cloître-Notre-Dame. On the left of the photo, the Cow Chimera is easy to recognize. In the foreground gargoyles are also visible.

Gallery of the Chimera on the western facade (main entries) of Notre Dame.

The south and east part of the south tower of Notre Dame, viewed from Port de Montebello. On the east side of the tower, the chimeras that have been replaced are whiter than the others. One of them is the Male Pelican Chimera, which is easily recognizable.

Ground-level viewing is free, requires no advance booking, and allows you to spend as much time as you wish. Nevertheless, the parvis (forecourt) is most of the time difficult to circulate on because of the crowd and the line (often very big) to enter the cathedral. The early morning or late afternoon is the best time to avoid the crowd and, even more, light creates the most dramatic illumination on the stone sculptures, with strong side-lighting that emphasizes their three-dimensional forms and textured surfaces.

Tower Access: Up Close with the Chimeras

The most immersive way to experience the gargoyles is to climb the towers and visit the Gallery of Chimeras.

The towers reopened to visitors in September 2025, This resumption of access represents an important milestone in Notre Dame‘s recovery. 

The tower circuit requires ascending 424 steps—there’s no elevator—through a narrow spiral staircase inside the south tower. According to the Notre Dame Tours official website, “Climbing to the top of the South Tower is a sporting experience. A good level of physical fitness is required.“

The reward for the long climb is direct: close-range access to the famous chimeras, plus spectacular panoramic views of Paris from the tower galleries.

Tower access reopened in September 2025, though with some modifications compared to pre-fire visits. As of September 2025, you can book tickets through the official Tours de Notre Dame (Centre des Musées Nationaux) website. Capacity is very limited, and it is forbidden to stay more than 5 minutes in the Chimeras Gallery. Online ticket booking is mandatory; therefore, you must be proactive about it, especially in the peak tourist season.

Do not attend to get a tour of the Chimeras Gallery; tours are forbidden there.  

At tower level, you can stand within arm’s reach of the chimeras (though please don’t touch—oils from human hands damage the stone). From this vantage point, you appreciate details invisible from ground level: the tool marks left by 19th-century sculptors, the weathering patterns on different surfaces, the precise positioning of each figure relative to the Paris skyline. The Stryga’s contemplative expression makes much more sense when you’re standing beside it, looking out at the same view it eternally surveys.

Booking a Private Tour – Only possible at Ground Level, Tours are Forbidden in the Towers 

While visiting independently is certainly possible, a private tour with a knowledgeable guide transforms the experience. A licensed guide can help you spot specific gargoyles and chimeras, explain the symbolism you’re seeing, share stories about the sculptures’ creation and survival, and ensure you don’t miss important details. They can also provide historical and architectural context, making the visit more meaningful and memorable.

Professional guides know exactly where to stand for the best views, which times of day provide optimal lighting, and how to frame photographs that capture both the sculptures and their Paris setting. They can explain which figures are authentic medieval gargoyles versus 19th-century chimeras, decode the symbolism embedded in different creatures, and share insights about the restoration work and its implications for Notre Dame‘s future.

10. Photography Tips and Best Views

Photographing Notre Dame‘s gargoyles and chimeras presents particular challenges: they’re high above ground level, carved from gray stone that doesn’t always photograph dramatically, and positioned where backgrounds may be cluttered with modern urban elements. However, with the right techniques and timing, you can capture stunning images that do justice to these remarkable sculptures.

Equipment Recommendations

For ground-level photography, a telephoto lens is essential. The chimeras on the tower gallery are approximately 46 meters above street level, meaning even modest telephoto focal lengths provide limited framing options. A 200mm lens will work, but 300mm or longer is preferable. If you’re shooting with a crop-sensor camera, a 70-300mm zoom lens effectively provides 450mm equivalent reach—enough to isolate individual chimeras and capture meaningful detail.

For tower access photography, normal or wide-angle lenses work better. You’ll be standing just meters from the chimeras, making telephoto lenses unnecessary and potentially problematic in the confined space. A 35mm or 50mm lens (or equivalent) allows you to capture individual sculptures with some background context. A wider lens—24mm or 28mm—lets you include multiple chimeras or frame them against the Paris skyline.

Professional photography of the chimeras often includes both the sculpture and Paris skyscape

Timing and Light

Light makes or breaks gargoyle photography. The gray limestone of the chimeras can appear flat and lifeless in the wrong light, but dramatic and sculptural in good light. Side-lighting works best—either early morning sun from the east or late afternoon sun from the west. These angled light directions create strong shadows that emphasize the three-dimensional form of the sculptures, revealing texture and detail.

Midday overhead sun is generally the worst time for gargoyle photography. It creates harsh top-down illumination that washes out detail and creates unflattering shadows. The exception is overcast days, when diffused cloud light can actually work beautifully, providing even illumination without harsh shadows and reducing contrast problems that plague sunny-day photography.

Dawn and dusk offer the most dramatic lighting, with warm-toned sunlight that adds color and atmosphere to the typically gray stone. The golden hour—roughly the first hour after sunrise and the last hour before sunset—provides the best combination of warm color temperature and dramatic side-lighting. However, tower access may not be available during these times, limiting these lighting conditions to ground-level photography.

Composition Strategies

The classic gargoyle photograph includes both the sculpture and a recognizable Paris landmark in the background—typically the Eiffel Tower or Sacré-Cœur. This composition works because it provides geographic context, scale, and a sense of place. It shows the chimera doing what it does: watching over Paris from its elevated perch. When shooting from the towers, position yourself so the chimera occupies one side of the frame with the Paris skyline visible beyond.

Close-up portraits of individual chimeras focus attention on sculptural details, expressions, and textures. These tight compositions eliminate distracting backgrounds and create dramatic images that emphasize the creature’s personality. For these shots, focus carefully on the eyes or most prominent facial features. Even though these are stone sculptures, treating them as portrait subjects often yields the most compelling results.

Silhouettes against the sky can create striking graphic images, especially at dawn or dusk. Expose for the bright sky, allowing the chimera to become a dark shape. This approach works particularly well for figures with distinctive profiles—the Stryga’s contemplative pose or the Wyvern’s twisted neck read clearly as silhouettes.

Technical Considerations

For telephoto photography from ground level, you’re dealing with atmospheric haze and heat distortion, especially on warm days. These conditions soften detail and reduce contrast. Shooting earlier in the day, when air is cooler and clearer, helps. Post-processing with careful sharpening and clarity adjustments can recover some detail lost to atmospheric effects.

Don’t forget black and white. The gargoyles and chimeras are monochromatic gray stone, making them natural subjects for black and white photography. Converting your images to black and white in post-processing allows you to emphasize form, texture, and contrast without the distraction of color. This approach often reveals the sculptural qualities of the work more clearly than color images.

Quasimodo Saving Esmeralda from Her Executioners, Oil on canvas, Eugénie Henry-Latil, 1832. It is one of the numerous 19th-century illustrations from Hugo’s novel that helped establish the gargoyles‘ iconic status. 

Film and Animation

Disney’s 1996 animated film “The Hunchback of Notre Dame” brought the gargoyles to life literally, making them comic-relief characters who interact with Quasimodo and comment on the action. While this portrayal takes considerable liberties with both Hugo’s novel and historical reality, it introduced millions of children worldwide to Notre Dame‘s sculptures, planting seeds of interest that might later grow into genuine appreciation for Gothic architecture. Six Years later, in 2002, Disney reiterates with the “The Hunchback of Notre Dame II” sequel. Finally, in 2007, Disney’s Notre Dame Gargoyles became part of the Disney Friends simulation and adventure video game. 

Beyond Disney, gargoyles appear in numerous films set in Paris or featuring Gothic architecture. Their distinctive silhouettes have become so associated with Paris that including them in a shot instantly communicates location to audiences worldwide.

The gargoyle aesthetic has also influenced creature design in fantasy and horror genres. Countless monsters, demons, and fantastic beings in film and video games show design influences traceable to Notre Dame‘s chimeras—the combination of human and animal features, the grotesque but carefully crafted appearance, the sense of being guardians or watchers from another realm.

Art and Fashion

Artists have been sketching, painting, and photographing Notre Dame‘s gargoyles since the 19th century. These sculptures appear in countless works ranging from Romantic paintings emphasizing Gothic atmosphere to contemporary photography projects exploring themes of permanence, vigilance, or the relationship between nature and architecture. 

In fashion, gargoyle imagery appears on everything from high-end designer collections (particularly in Gothic-influenced fashion movements) to street wear and accessories. Jewelry featuring gargoyle designs, clothing printed with images of the chimeras, accessories incorporating Gothic architectural elements—all testify to how these sculptures have moved beyond architecture into broader visual culture. The tattoo world has particularly embraced gargoyle imagery. 

12. Restoration and Conservation Efforts

Preserving Notre Dame‘s gargoyles and chimeras presents ongoing technical challenges that balance competing priorities: maintaining historical authenticity, ensuring structural stability, managing environmental damage, and keeping these sculptures accessible for future generations. The restoration work reveals the complexity of caring for medieval and 19th-century stonework in the modern urban environment.

Conservation Challenges

The primary threat to the gargoyles and chimeras comes not from dramatic events like fires but from gradual environmental deterioration. Paris’s urban atmosphere, with its pollution, acid rain, and temperature fluctuations, slowly erodes limestone. Each freeze-thaw cycle that moisture trapped in the stone experiences causes microscopic damage. Over decades and centuries, this accumulates into visible weathering: surfaces become rough and pitted, fine details disappear, and structural integrity gradually weakens.

Biological growth presents another challenge. Lichen, moss, and various microorganisms colonize the stone surfaces, particularly in areas that remain damp. While this biological activity might seem merely cosmetic, it actually accelerates deterioration as organisms’ roots penetrate the stone and their metabolic processes create acids that dissolve limestone. Regular cleaning is necessary, but it must be done carefully—too aggressive cleaning damages the stone surface, too gentle cleaning leaves harmful organisms in place.

Bird activity, creates additional problems. Bird droppings are acidic and etch stone surfaces. Birds also deposit seeds, which can germinate in cracks and crevices, with plant roots eventually widening those cracks. Managing bird populations around the cathedral requires ongoing effort, balancing wildlife concerns with preservation needs.

Restoration Techniques

When gargoyles or chimeras require restoration, conservators must make difficult decisions about intervention levels. The most conservative approach involves cleaning and stabilizing existing sculpture without replacing missing elements. This preserves historical authenticity but leaves the sculpture incomplete. A more interventive approach replaces lost elements with new stone carefully carved to match original designs—this creates visual completeness but adds non-historical material.

Modern conservation increasingly favors minimal intervention. Rather than replacing entire eroded gargoyles (common in earlier restoration periods), contemporary conservators typically consolidate weakened stone using compatible materials, clean surfaces using gentle methods, and only replace stone when structural necessity demands it. This philosophy prioritizes preserving as much original material as possible, accepting that weathered, incomplete sculptures carry their own historical value as witnesses to time’s passage.

For the true gargoyles that still function as water spouts, maintenance presents unique challenges. The drainage channel inside the sculpture must remain open and functional, requiring periodic cleaning to remove mineral deposits and debris. If the channel becomes blocked or the gargoyle’s mouth erodes to the point where water doesn’t discharge properly, moisture problems develop in the surrounding stonework. Some functional gargoyles have been supplemented or replaced with modern drainage elements that work alongside the historical sculptures, ensuring proper water management while preserving the aesthetic contribution of the original carvings.

Post-Fire Restoration Context

The massive restoration program following the 2019 fire includes assessment and care for all the cathedral’s sculptural elements, including gargoyles and chimeras. While these sculptures survived the fire largely intact, they did accumulate soot and suffered heat exposure that requires attention. Conservation teams have documented the condition of every gargoyle and chimera, creating detailed condition reports that will guide future maintenance^[8].

The restoration also provides an opportunity to implement new monitoring systems. Some gargoyles now have sensors that track moisture levels, temperature fluctuations, and structural movement. This data helps conservators understand deterioration patterns and intervene before problems become critical. Modern technology serves medieval sculptures, helping ensuring that these stone guardians of Notre Dame remain safely perched on their towers, ensuring they will survive for future generations of the next centuries.

13. Conclusion: Experience Notre Dame‘s Gothic Guardians

Notre Dame‘s gargoyles and chimeras represent far more than decorative stonework or medieval drainage solutions. They embody the intersection of engineering genius and artistic vision, practicality and symbolism, medieval craftsmanship and Victorian imagination. Understanding them—knowing which are functional medieval gargoyles and which are decorative 19th-century chimeras, recognizing their different purposes and meanings, appreciating both their individual characters and collective impact—deepens our experience of Notre Dame itself.

These stone guardians have witnessed over 800 years of Parisian history from their elevated perches. They’ve watched the city transform from medieval capital to modern metropolis, survived wars and revolutions, endured centuries of weather and pollution, and most recently lived through the devastating fire of 2019.

For visitors to Paris, seeing these sculptures up close—whether from ground level with binoculars or by climbing the towers to stand beside them—offers a unique perspective on both the cathedral and the city. From their vantage point, Paris spreads out below: the Seine’s curves, the zinc rooftops, the distant landmarks, the streets where millions of lives have unfolded over centuries. The chimeras‘ eternal watch over this scene captures something essential about Paris itself—its combination of permanence and change, beauty and complexity, history living alongside modernity.

FAQ – Frequently Asked Questions

References

1. Courtillé, Anne. “The gargoyles of Notre-Dame de Paris.” Friends of Notre-Dame de Paris, 2018. https://www.friendsofnotredamedeparis.org/
2. Hugo, Victor. Notre-Dame de Paris. Paris: Charles Gosselin, 1831.
3. Erlande-Brandenburg, Alain. Notre-Dame de Paris. Paris: CNRS Éditions, 1991.
4. Viollet-le-Duc, Eugène. “Restoration” entry in Dictionnaire raisonné de l’architecture française du XIe au XVIe siècle. Paris: B. Bance, 1854-1868.
5. Official Notre-Dame de Paris website. “Architecture and History.” https://www.notredamedeparis.fr/en/
6. BBC News. “Notre-Dame fire: What we know so far.” BBC, April 16, 2019. https://www.bbc.com/news/world-europe-47945047
7. Rebâtir Notre-Dame de Paris. “Restoration Timeline and Progress.” Official Notre-Dame Restoration Site, 2024. https://www.rebatirnotredamedeparis.fr/en
8. UNESCO World Heritage Centre. “Notre-Dame Cathedral, Paris.” UNESCO. https://whc.unesco.org/en/list/83/
9. Leniaud, Jean-Michel. Viollet-le-Duc ou les délires du système. Paris: Mengès, 1994.
10. Murray, Stephen. Notre-Dame, Cathedral of Amiens: The Power of Change in Gothic. Cambridge: Cambridge University Press, 1996.

Related Broaden Horizons Posts

If you enjoyed learning about Notre Dame‘s gargoyles and chimeras, you might also be interested in these other articles about Paris and France’s treasures and cultural landmarks:

• Notre Dame Rose Windows – A complete guide about the three famous rose windows of the cathedral.
• Maison de Victor Hugo Museum – In the iconic Le Marais, Place des Vosges, the former house in Paris of the author of The Hunchback of Notre Dame.
• Orléans Sainte Croix Cathedrale – The biggest Gothic cathedral in France is only one hour from Paris by train
• More Paris History & Culture Articles – Browse our complete collection of Paris blog posts

Resources And Related Tours

• The Bells of Notre Dame from the Gallery of the Chimeras – April 14, 2019, the day before the fire.
• Reopening of the Notre Dame Cathedral towers with French President Emmanuel Macron – Gallery of the Chimeras from minute 11mn.24s.
• Re-creation of the five damaged chimera of Notre-Dame (French).
• Gargoyles at the Clermont Cathedral (French).
• Details on the story of the usurer who died by receiving a gargoyle on the head in the 13th century (French).