Compostela

Neighbors have had enough of sodomized gargoyles in Santiago de Compostela. “artistic attack“, “a barbarity“, “creepy“, “absolute aberration“Three months of complaints have led the Xunta to take measures on the facade of the Hostal dos Reis Católicos. Despite the complaints, the architect responsible for undertaking the reform, Fernando Cobos, has considered that this controversy has no reason to exist. Firstly, because metal pipes strung on sculptures were already planned in 1561. Secondly, because in addition to being the “most effective” and “least bad” solution, he believes that it cannot do much more than sodomize a stone gargoyle. The oldest in Spain. This hostel and parador, considered the oldest operating accommodation in Spain and one of the most protected buildings in Plaza del Obradoiro, has been undergoing modernization and rehabilitation works since 2025. Turespaña and the Ministry of Industry and Tourism, with a budget of around eleven million euros, have been in charge of undertaking these improvements. And within the Master Plan it was decided to extend the Renaissance gargoyles with metal tubes – the “spears” – to direct rainwater away from the baroque balcony and avoid humidity that was deteriorating the stone. So far, everything perfect. The General Directorate of Cultural Heritage of the Xunta authorized this intervention on an Asset of Cultural Interest (BIC) and the municipal technical organizations did not see anything strange, assuming that this was a functional solution to a real conservation problem. But as soon as the scaffolding was removed and the copper pipes were exposed on the 18 gargoyles of the main façade, spitting water from the anus, it got messy. One complaint after another. The first public complaint was filed by Maite Vieites, the neighbor who spread photographs by networks of “intubated” gargoyles. The debate spread among Compostela residents, pilgrims and heritage associations. The Fonseca neighborhood association described the intervention as an “aberration” and “an attack against our heritage.” Entities like Apatrigal, the Ateneo de Santiago and the Casino Cultural Association They raised their complaints to Icomos-Spain—an organization in which Cobos also serves as an advisor—arguing that the solution contravened principles of the Venice Charter: minimum intervention, reversibility, compatibility and respect for the cultural landscape. An “ass with a pipe” was read differently: more than a mere drain it was a gargoyle “sodomized” by sin, a symbolic violence, an unnecessary eschatological joke. Why PEC tubes. The architect Fernando Cobos, responsible for the Hostel’s Master Plan, has defended actively and passively that this is a measure “reversible and less damaging” for the monument, insisting that the tubes “exit, not enter” and that similar metal channels are common in international historical heritage. The sexual reading also dates back to the Middle Ages. New requirement. Faced with pressure, the Xunta no longer thinks the same: first it announced that it would look for “a better formula” and asked Turespaña for a more aesthetic option. Then, Autonomous Heritage set deadlines to present alternatives and demanded, at least, shortening the spear of the only anthropomorphic gargoyle. Now, the Galician government has ordered the tube of the human figure to be cut and has given the architect 25 days to design an internal and hidden drainage system that maintains functionality without altering that whimsical erotic reading. Asses and throats. Gargoyles are part of hydraulic engineering in medieval architecture. On thousands of facades of cathedrals, abbeys and even public buildings. They are sculpted drains that project rainwater away from the walls to prevent erosion of the stone and mortar. The term, which comes from French gargouilleliterally refers to the “throat”, alluding to the internal channel that transports water and food from one end to the other. Over time, the technical function became loaded with symbolism: grotesque beings, chimeras, hybrid animals and deformed human figures acted as a reminder of the dangers of sin and as apotropaic devices to drive evil away from the temple. The cathedral of Laon, in Picardy, built in the mid-12th century, already had this water injection through pipes coming out of zoomorphic figures. The semiotics of the matter do not have much more. Gargoyles and historical memory. The conflict has its reason for being: when democratic memory or community aesthetic perception collides with certain technical impositions, it is easy to read an “erasure.” Resignifying aesthetic elements alters the genealogy of the building. In Gijón, several memorial associations They demanded the withdrawal of the “Héroes del Simancas” monument, on the façade of the La Inmaculada school, interpreting it as an apology for Francoism. And the law of democratic memory obliges private owners to remove elements contrary to that memory when they project into public space, with the intermediate option of keeping the pieces accompanied by an explanatory plaque in buildings of special historical value. And speaking of plates, in Tarragona and Barcelona removing Francoist plates is costing more than desirablewith neighbors complaining about the paradox that the cost of removing them falls on the communitieswhile the threat of sanctions and the possibility of museumizing these pieces comes from the administrations. In short, these cases open a battle over who decides how to intervene in the skin of untouchable historical monuments. Let us remember that the Supreme Court forced a company to dismantle a metal structure that barely invaded the adjacent facade by 20 centimeters. Luckily, in Spain there is Horizontal Property Law which gives a voice to the neighbors and the authority for the Spanish justice system to take measures on gargantuan works on terraces or structures that alter the exterior configuration of the buildings without the consent of the community. Condemned to understand each other. The legend of Saint Romain and the dragon of Rouen tells that, in the 6th-7th centuries, an amphibious monster called La Gargouille flooded and devastated the surroundings of the city until the bishop subdued it and its fireproof head was hung in the cathedral as a drain and protective amulet. From those dusts, these muds. Because the story was misplaced and rewritten in the 14th century to justify the annual … Read more