sheelagh na gig

J. O'Donovan O.S. Letters, Kiltanan [sic] Parish,
Co. Tipperary. pp.171-174, notes 434-441

On a stone placed on the extreme top of the South Wall at a south-west angle, is carved a
figure of a woman in bas-relief, rudely done, but whose attitude and expression
conspire to impress the grossest idea of immorality and licentiousness in
reference to the character intended ti be exposed to the condemnation of
an uncompassionating and merciless judge ycelpt [sic] society, the people,
or the world, whichever name be more agreeable. Oral information says that
this ill executed piece of sculpture, which is while it endures a memorial
of the unskilfulness of the artist who produced it, represents a woman who
was known by the name of Sile ni Ghig, a person described as having plunged
herself into all kinds of excesses, and having precipitated herself by her
follies into the gulf of destruction. She is, in fact, represented in the
language of the censorious narrators of the incidents connected with her
life, not as a human being, but, to make use of their own term, which is
the finishing touch of their much, it is to be feared, exaggerated picture,
at least with regard to the individual, in all respects a brute.

Indeed, however,
the figure itself suggests such a character as would merit in common opinion
the name imposed on its subject; and it is a complete mystery why such a
figure should be placed at a house of public worship, being in its way in
direct opposition to the sentiment of any class, or sect of people professing
the Christian faith, whose doctors have at all periods most energetically
cried down the Priapus worship of the good old Pagans, and whose teachers
in our own time exclaim against, not only any external image that might
incite any fellings [sic] tending to animal indulgence, but also give instructions
to their auditors to the effect that, even all the thoughts of such character
as would lead to this indulgence in the way that should effect the salutary
state of the soul, or the moral state of society, are to be extinguished
at the very moment that gives them birth. Not only are any representations
of immoral tendency not permitted, but even any shapes or forms made by
art to keep in memory those beings who are by creation endowed with the
highest acme of perfection according to the susceptibility of their nature;
or who came by predestination, or by actual merit given, by the creator,
through indulgence to human weakness, to a well lead life, are dangerous
in the opinion of some, and are not allowed to be made use of, by any who
receive their precepts, lest they should intercept the glowing emanations
of the soul's ardent love in the creature towards the creator, and set up
their subjects, or even themselves as the objects of worship to the devious
spirit, wandering in its own naturally misguided, yet criminal, and therefore
punishable self-love and slavish fear.

Under these circumstances
it cannot for a moment be admitted that the above spoken of figure has been
set up in its present situation for producing any good effect on the minds
of the Christian Congregation, for this is not the mode of checking vice
and promoting virtue, practised since the setting in of the Christian era.
The probability is that the figure was never intended to be placed, and
that it belongs to one of a different sort, say a Castle, the stone which
bears it, having been removed from its proper place, and laid in its present
situation by someone who delighted in inconsistencies, This must certainly
have been done after the church had fallen into disuse, and not previously
to that period. If this is not the case, the chisel must have shaped it
some time since that period. It appears to owe its origin to the wantonness
of some loose mind.

That such a design,
but hardly such an execution, might have been the production of Pagan times,
could be admitted on the grounds of analogy. Not, however in reference to
the character of the subject, with which it is associated by local information,
for the good old pilosophic [sic] Pagans, are not supposed to make use of
monuments of lewd and dissolute characters for purging the mind, of an improper
degree of passion. The design however, might have been used, though not
representing any individual, but relatively to a certain conception having
utility for its object. The Pagans, who have been, perhaps, wronged in many
points by Christians, had always in view, some utility derivable by society,
from whatever means they adopted and recommended for improving its moral
condition. And all such means were got up, suggested by effects admitted
to be produced through certain medical processes which had been closely
studied, and compared. It is noticed in the preliminary observations to
Samson Agonistes, a dramatic poem, composed by John Milton, that "in
physic things of melancholic hue and quality are used against melancholy,
sour against sour, salt to remove salt humours." Before these words
it is observed that "tragedy, as it was anciently composed, hath been
ever held the gravest, moralest, and most profitable of all other poems:
therefore said by Aristotle to be of power by raising pity and fear, or
terror, to purge the mind of those and such like passions, that is, to temper
and reduce them to just measure with a kind of delight, stirred up by reading
or seeing those passions well imitated."

Solon established
exercises in which the youth, both male and female went through their manoevres
with their bodies naked. The object was to moderate the desires of both
sexes, by having their persons exposed to one anothers view, which would
have the effect of removing it from the mind, the curiosity raised in it,
by the concealment of the person when clothed. This was suggested by the
habits of the several classes of animals, who go about unencumbered with
any garments concealing their external appearance from the eye, even one
of their own kind. The procession-worship of old Priapus had utility for
its object too.

It may not appear
strange then, that the figure now called Sheela ni Ghig is of Pagan origin,
as might be admitted on analogical grounds, at least as far as regards design,
as before observed. But, then, it must be considered in its way, as intended
to produce some good, the possibility of which may be granted, if above
means (of improving the mind among the vulnerable) Pagans, be granted to
have their intended effect.

The good effect
was perhaps expected in the present instance, by raising a disgust in the
mind against all excesses in the indulgence of animal passion. Christians
had and have a right to give a fair view, as far as in their power, of the
pagans, all whose systems, were built on principles as philosophical as
it was in their power to establish: and not to represent them as horrible
and detestable Characters, because, in some instances their ways seem bad,
since their systems did not sometimes produce the intended good. But they
are not to blame, for they did their best, as far as the powers of the mind
under such circumstances sided them; and Christians, if Religion be left
out, are much indebted to them for many improvements in the way of life.
Surely Christians have no great cause of being so proud in considering themselves
superior to those of the old world; for they are in some respects inferior;
and if they pride themselves on Religion, they ought to thank God through
whose revelation they have been gifted with it. But to conclude with an
observation, or two, it would be much more creditable if Sheela ni Ghig
(the figure so called) could be proved as of Pagan origin; far as such there
would be an excuse for its existence. But it is much to be feared no such
thing is possible. And it is highly discreditable to a Christian congregation
to have had before their eyes a representation of the kind.

For the sake
of supporting decency and consistency, the figure must, if it be not considered
of pagan origin, or as of later date than the pagan period, and supposed
to have been placed in its present situation by mere accident, be regarded
as being a production of a period subsequent on the time when the Church
had, as has above been observed, fallen into disuse.