Top 22 Gargoyles Quotes & Sayings

the point of feminism ... is to win women a wider range of experience. Feminism remains a pretty simple concept, despite repeated - and enormously effective - efforts to dress it up in greasepaint and turn its proponents into gargoyles.

It is not the glorious battlements, the painted windows, the crouching gargoyles that support a building, but the stones that lie unseen in or upon the earth. It is often those who are despised and trampled on that bear up the weight of a whole nation.

The biggest problem I see with early-stage entrepreneurs is they get the idea in their head, and they leave it in their head. And they begin embellishing it in their head, making it more ornate. They add on the second story to their dream house - then add the tennis court and the turrets and the gargoyles.

Littlefinger: A trade envoy from Lys once observed to me that Lord Stannis must love his daughter very well, since he'd erected hundreds of statues of her all along the walls of Dragonstone. Tyrion: My lord, those are gargoyles.

But Gargoyles, bar none, is the most fun I've ever had in life.

In fact, I have never met anyone who didn't like Gargoyles.

Even without seeing the crickets, grasshoppers, cicadas and katydids, we hear them shrilling in this season and trust that they're the tiny living gargoyles entomologists claim.

I decided to finish at Oxford because I looked up at the top of the buildings - the gargoyles and spires - and decided to stay.

Gargoyles were the complement to saints; Leonardo's caricatures were complementary to his untiring search for ideal beauty. And gargoyles were the expression of all the passions, the animal forces, the Caliban gruntings and groanings which are left in human nature when the divine has been poured away. Leonardo was less concerned than his Gothic predecessors with the ethereal parts of our nature, and so his caricatures, in their expression of passionate energy, merge imperceptibly into the heroic.

The creativity and pathology of the human mind are, after all, two sides of the same medal coined in the evolutionary mint. The first is responsible for the splendour of our cathedrals, the second for the gargoyles that decorate them to remind us that the world is full of monsters, devils, and succubi.

Certainly if it's something you created, like Gargoyles was for me... on the one hand it becomes you and the other writers as well. It's not like it's a one man band by any means, but at the same time when something's really working, when you've got a group of characters that really are clicking and humming, they begin to tell you what happens next. It just all begins to feel right and that was true about Gargoyles. Not true about every show I ever worked on, but it was definitely true about Gargoyles.

I love monsters. If I go to a church, I'm more interested in the gargoyles than the saints. I really don't care much about the idea of normal - that's very abstract to me. I think that perfection is practically unattainable but imperfection is right at hand. So that's why I love monsters: because they represent a side of us we should actually embrace and celebrate.

And it has some weight, I mean, the whole history of the gargoyles, that's some wonderful stuff.

Sometimes when you're in the midst of something you don't always appreciate it while you're doing it. Gargoyles was an exception to that. At the time, I knew we were doing something kind of special. Something that might not be repeatable. It turned out to be, professionally.

In northern architecture - the cathedrals of Europe and all the little churches - the details, the carving of stone, become necessary because the light is not there to help you very much. You have to enrich surfaces. The desert reduces form to its simplest nature. There is no need for gargoyles or flying buttresses in the desert.

I've been fascinated with gargoyles since I was a kid. I took a high school trip to Europe, the 8 countries in 5 weeks kind of trip. Even then I collected postcards of gargoyles. Then I sort of forgot about it. You flash-forward a few years and I'm at Disney, we're looking for an idea to base a show on. I was running series development at the time at Disney TV Animation. And we came up with the Gargoyles comedy series. Which didn't sell!

One legged veterans will greet the dawn, and they're whistling marches as they mow the lawn, and the gargoyles on sit and grieve.

Together he [Girolamo Savonarola] and his archenemy Lorenzo [de' Medici] would have been the stuff of gargoyles. One could almost imagine the diptych in which their profiles confronted each other, their noses as powerful as their personalities.

When I went to Europe a few years ago, I felt very at home there, and I loved standing in Notre Dame and looking at all the gargoyles on the outside of that building and realizing that, as scary and frightening as they were, what I was looking at was something that was built to the glory of God.

With Gargoyles, I didn't want to walk away. I liked the idea too much, I was too passionate about it and so I went to my bosses and said, "Guys, I want to produce this show." Their initial response, lets call it dubious, but they let me give it a shot and sort of the rest is history. I moved from one side of the desk to the other side of the desk, and became a full time writer which had always been the goal, but I came about getting the actual work in a sort of roundabout way.

So much paperwork to read! So much paperwork to push away! So much paperwork to pretend he hadn't received and that might have been eaten by gargoyles.

When I started studying architecture, people would say, you know, 'Can you tell me why are all modern buildings so boring?' Because, like, people had this idea that in the good old days, architecture had, like, ornament and little towers and spires and gargoyles, and today, it just becomes very practical.