A sheela-na-gig (which may translate as "Sfle of the breasts") is a medieval female exhibitionist figure posed in a manner that displays and emphasizes the genitalia. Their background is to be found in European Romanesque churches, particularly those located along pilgrimage routes in France and Spain, where a range of male and female exhibitionist figures and related carvings are found that served to alert the faithful to the dangers of the sin of lust. Emphasis on the genitalia, which are usually enlarged, may relate to the church’s teaching that sinners were punished in hell through the bodily organs by which they had offended.
By contrast with the Continental carvings, most of the Irish sheela-na-gigs are isolated figures located on buildings that are otherwise sculpturally plain. Carved in stone, they were placed on churches, castles, and town walls, located usually near a door or window or on quoins. Some variations in pose exist but it is by no means certain whether these have any real significance. In general, sheela-na-gigs appear to be evenly divided between those which seem to be standing and those that may be seated. The legs may be splayed widely or, alternatively, the thighs may be splayed but with the heels together. In some cases the legs appear not to have been represented at all. The commonest position of the arms is that whereby the hands are placed in front with a gesture towards the abdomen or, more explicitly, towards the pudenda. The hands may join in front of the genitalia or may be shown gripping the pudenda. In some instances the arms are placed behind the thighs. Irish sheela-na-gigs occur predominantly within or adjoining areas of heavy Anglo-Norman settlement in north Munster, Ossory (the Co. Kilkenny area), and the midlands, being virtually absent from the far west and north of the island. One of the most westerly examples, that from Aghagower, County Mayo, is located along a pilgrim’s road to Croagh Patrick. The earliest Irish examples are located on churches where they fulfilled a purpose similar to the continental carvings. Later examples found in secular contexts on town walls and tower houses may have functioned as protective carvings. The change in meaning, from figure of lust to protective icon may have arisen as a result of Gaelic cultural resurgence during the later Middle Ages. Elements of ancient pre-Christian beliefs were embedded within Irish concepts of lordship. The land was a female entity to which the lord was wedded metaphorically and therefore responsible for its protection, wealth, and fecundity. These beliefs found reinforcement in the Irish literary tradition that included ancient epic mythological tales featuring female characters such as Queen Medb, who are literary versions of the ancient earth goddess. Sheela-na-gig supplied a readymade visual image that could be expropriated and displayed on a lord’s residence to provide validation of his role and status. Medieval lords who displayed sheela-na-gigs in secular contexts included Ua Briain (O’Brien) and Ua Maelsechnaill (O’Melaghlin), who were the descendants of Irish high-kings, while others such as Butler and Fitzmaurice were of Anglo-Norman stock.
