Sheela Na Gig: Unveiling the Mystery of These Medieval Stone Carvings

I’ve always been into carvings, especially gargoyles. I’m not sure why it took me so long to notice these relics of Medieval times and lore. Sheela Na Gigs are among the most intriguing figures in architectural history, leaving us with more questions than answers. These mysterious stone carvings of naked women, often displaying exaggerated genitalia, have been found on religious and secular buildings across Europe. Known for their stark and provocative imagery, they challenge modern concepts of modesty, femininity, and morality. But what exactly do these figures represent, and why were they created? Their story is as layered as the stone they were carved from, touching on themes of fertility, protection, and societal taboos.

Historical Origins and Placement

The origins of Sheela Na Gigs are rooted in Romanesque architecture, dating primarily between the 12th and 17th centuries. These carvings are most commonly found in Ireland, though examples have also been discovered in other parts of Europe, including England and France. Their prevalence on churches, castles, and other significant buildings suggests they held a vital cultural or religious purpose during their time.

Many Sheela Na Gigs are prominently placed over doorways, windows, and other entry points. This positioning has led historians to speculate that these carvings served as apotropaic symbols, designed to ward off evil spirits or bad luck. Their placement at thresholds—a symbolic space between worlds—seems to underscore this protective role. To explore further about their history and significance, the Sheela na Gig entry on Wikipedia provides excellent context.

Cultural Context and Symbolism

The symbolic meaning of Sheela Na Gigs is still hotly debated among historians and folklorists. Some theories connect them to the Celtic past, seeing them as remnants of pagan traditions. Others interpret them as fertility symbols, celebrating the power of the female body to create life.

However, another interpretation, rooted in Christian morality, portrays Sheela Na Gigs as warnings against lust and sin. Their grotesque and exaggerated forms may have served as reminders of the dangers of carnal desires, displayed strategically on church walls to deter parishioners. According to Sheela na Gig Theories, this duality—a mix of empowerment and admonition—highlights the layered meanings these figures held.

There is also an argument to be made about their apotropaic function. Similar to gargoyles, Sheela Na Gigs might have acted as guardians, their exaggerated and unsettling forms scaring away malevolent forces. This protective role aligns with their prominent positions near entrances and windows, areas often associated with spiritual vulnerability.

Etymology and Linguistic Significance

The name “Sheela Na Gig” itself is as enigmatic as the figures. Scholars have proposed various translations, with one popular interpretation rendering it as “old hag of the breasts” or “old woman on her haunches.” Both descriptions evoke the image of an aged, otherworldly figure, aligning with the carvings’ often emaciated and wizened forms.

The linguistic roots of the name are thought to intertwine with Gaelic and Old Irish, reflecting the deep cultural heritage of the regions where these carvings are most commonly found. For a deeper dive into Sheela Na Gig’s linguistic background and interpretations, explore this insightful resource on their significance.

Contemporary Interpretations and Reclaiming Symbolism

Sheela Na Gigs are much more than relics of the past. In recent decades, they’ve been embraced as symbols of empowerment, particularly within feminist and artistic circles. Organizations and individuals alike have used these carvings to celebrate female autonomy, sexuality, and strength.

Projects like Project Sheela have integrated Sheela Na Gigs into modern art, using them to address societal issues such as women’s rights and historical injustices. For example, their imagery has been famously used to shed light on abuses linked to the Magdalene Laundries in Ireland. These modern interpretations reclaim what was once a controversial figure and give her a voice in contemporary discourse.

Symbol of Female Empowerment

Many now view Sheela Na Gigs as a bold celebration of femininity and sexuality. Unlike traditional depictions of women in art, which often render the female form as an object of beauty, Sheela Na Gigs present it as raw and unapologetic. This stark portrayal serves as a counter-narrative to societal norms that have long sought to control or censor women’s bodies.

Feminist movements have drawn inspiration from Sheela Na Gigs, using their rebellious imagery to champion conversations around female liberation and sexual autonomy. This intriguing article from The Guardian examines how such symbols have been reinterpreted through a modern lens, highlighting their enduring relevance.

Reviving and Preserving the Sheela Na Gig Legacy

Efforts to preserve Sheela Na Gigs have grown in recent years, spearheaded by cultural organizations like the National Museum of Ireland. Unfortunately, many carvings have been lost to time, either destroyed due to religious objections or eroded by the elements. Still, mapping and documentation projects aim to safeguard the remaining figures, ensuring their stories are not forgotten.

There are still challenges to overcome. For much of history, societal taboos regarding female sexuality kept Sheela Na Gigs in the shadows. Today, advocates work to debunk myths and raise awareness about their historical and cultural importance. Learn more about these preservation efforts through resources like Sheela Na Gig.org, which offers a comprehensive look at their legacy.

Conclusion

Sheela Na Gigs remain a fascinating blend of history, mythology, and modern interpretation. Whether viewed as guardians, fertility symbols, or feminist icons, they continue to provoke thought and spark dialogue. Their ability to traverse boundaries—between past and present, sacred and profane—makes them uniquely captivating.

As we study these figures and their evolving symbolism, we are reminded of the complexity of human culture and belief systems. In a world that often seeks to suppress the unknown or controversial, Sheela Na Gigs stand as timeless reminders of the power and mystery of the human story.

Navajo Spring
Manitou Springs, Colorado, USA

Just off of Main Street in historic Manitou Springs, at the back of the popcorn and candy store in front of the amusement arcade, a natural soda spring comes out of the wall in a decorated font. It is one of eight famous natural springs that put this town on the map. The spring was initially visited by Native American Indians who sought their healing and spiritual powers, which some believed were gifted by the great spirit called Manitou.

They were then frequented by white Euro-American settlers, who pushed the tribes out and commercialized the area. Legend has it that the Utes placed a curse on all whites that the Westerners could never have a successful business in this place because of the commercialization of this particular spring. By the late 1880s, the Westerners built a large bathhouse and spa, as well as a bottling plant, on this former location but did not succeed. The waters, however, were famous throughout America at that time and place.

The spring waters are fissured through rock fractures from the rainwater and snowmelt from Pikes Peak. Water reaching the depths becomes heated and mineralized, flowing up through the Ute Pass fault zone into limestone caverns that carbonate them and are tapped into by natural springs or wells. Each spring in the area has its distinct taste and flavor. This particular spring originally had a bowl-like concretion of calcium carbonate large enough to dip or wash oneself in.

From 1871-1972, Chief Joseph Tafoya – Chief Joe “Little Deer” and his family came to this spot to do authentic Indian dances and songs from the Tewa tribe of the Pueblo Reservation of Santa Clara, New Mexico. In 1889, Jerome Wheeler built a 3 story bottling plant east of the arcade. He used these waters to bottle up to 5,000 gallons of water daily, selling it worldwide as table water for the famous non-alcoholic Giner Champagne. After the collapse of the plant, the spring fell into abuse and was restored in 1991 by Manitou’s residents and donors.

Navajo Spring: “Chief Joseph Tafoya – Chief Joe ‘Little Deer’ 1891-1972: Generations of the Tafoya family have presented authentic Indian dances and songs on this site and at the Manitou Cliff Dwellings Museum since 1925. The Tafoya Family Dancers are members of the Tewa tribe from the Pueblo Reservation of Santa Clara, New Mexico, and descendants of the ancient Puye Cliff Dwellers. For 15 years, Chief Joseph Little Deer served both as governor of the Santa Clara Reservation and Chairman for the All Pueblo Indian Council. He introduced a democratic form of government on the reservation, opened his home to orphaned Indian children, and worked tirelessly to improve the living conditions of his people. Chief Little Deer married Petra Suazo, a great niece of Cheif Manitou so named for his active promotion of Manitou Springs at the turn of the century. Chief Manitou danced for 20 summers at the Cliff Dwellings museum. Navajo Spring is one of the seven natural soda-type springs that led to the settlement of Manitou. The early French trappers named the bordering creek “Fountaine qui Bouille”, the Boiling Water. Mineral deposits containing large amounts of carbonate of lime created a natural basin where the Indians bathed their sick and wounded. The white mineral basin now is hidden under the arcade floor. In 1889, Jerome Wheeler built a 3-story bottling plant east of the arcade and used Navajo Spring for bottling up to 5000 gallons of water a day. The water was sold worldwide as table water of the popular non-alcoholic Ginger Champagne. Navajo Spring was restored in 1991 by generous assistance from various donors” ~ sign outside the Spring.

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Stratton Spring
Manitou Springs, Colorado

From the deep fissures of the Ute Pass Fault, where the rainwater and snowmelt of Pikes Peak meet and become heated and mineralized in the deep limestone caverns where they take thousands of years to make their way to the surface absorbing numerous minerals and nutrients as well as natural carbonation. Stratton Spring was a drilled source by the Stratton Foundation to serve the town where they felt it was located along earlier Native American trails.

_{“Stratton Spring was drilled in 1936 by the Myron Stratton Foundation., The soda-type spring has a controlled flow of two gallons per minute and is drilled to a depth of 167 feet. This site was the junction of early Indian trails and several major mineral springs. Later it became the major access to the Mount Manitou Incline and the Pikes Peak Cog Railway and was the loop were Stratton’s Trolley Line reversed to return to Colorado Springs. Winfield Scott Stratton was a carpenter and a building contractor in Colorado Springs. He tried his hand at prospecting and became the first millionaire from the Cripple Creek Gold Strike. Stratton died in 1902 and bequethed his fortune to the care of the county’s needy children and elderly. The Myron Stratton Foundation, named in honor of Winfield’s father, still continues to serve the public. Stratton Spring was restored in 1989 by a grant from the EL POMAR Foundation and volunteer assistance from citizens of Colorado. “}

_{~ sign outside the Spring. September 6, 2012: Manitou Springs, Colorado.}

The Mountain Ute would come through this pass alongside many other tribes to pay homage and be treated by the magical waters they believe were blessed by the Great Spirit Manitou. In the late 1880s, developers and Westerners pushed the tribes out of the valley. They began commercializing the healing waters with spas, bathhouses, and other commercial ventures, such as bottled water companies. This spring, one of 10 within Manitou Springs, was believed to have healing properties to treat TB and other illnesses.

This spring flows two gallons a minute of naturally carbonated soda-type spring water. The well was drilled to a depth of 167 feet. This Spring being drilled has little folklore besides its more modern healing attributes. It was drilled by Winfield Scott Stratton, a local carpenter and building contractor who lived in the area after trying his hand at prospecting during the Cripple Creek Gold Strike, which led him to become the first millionaire from that Gold Rush. He died in 1902 and willed his fortune to care for the county’s elderly and needy children through the Myron Stratton Foundation. The Spring was restored in 1989 through an EL POMAR Foundation grant and various volunteers and donors from the region.

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Isak Heartstone – The Troll of Breckenridge

There’s a troll in the woods, and his name is “Isak Heartstone”. He’s been a resident of Breckenridge for quite some time, and recently changed hoods. He’s 15 feet tall and is a recycled wood art sculpture created by infamous Danish artisan Thomas Dambo. He is an icon for upcycling and recycling. Today, Isak lives off the Trollstigen Trail in Breckenridge Colorado just southeast of the Ice Arena parking lot. He was manifested through the annual Breckenridge International Festival of Arts in 2018. He was moved from his original location to one that was closer towards town and parking, as parking issues as well as maintenance, monitoring, and care was too difficult before. He and the trail will still not be maintained during the winter months. The troll is a fantastic family fun-filled adventure for all visitors large and small. A quick walk from the ice arena, he’s not to miss if you’re in Breckenridge.

The artist Thomas Dambo believes that the world is overwhelmed with overconsumption, and that’s why he focuses on creating something from the trash and recycled materials that can be appreciated. The trash does not need to be what the world is drowning in. He has created over 51 recycled/upcycled artistic creations around the world, including many other trolls. Isak is merely one of them. His first troll, Hector El Protector, was created from recycled pallets in Puerto Rico in 2014. Because of his popularity, Breckenridge was bombarded by tourists seeking out the troll and created a liability. Breckenridge in the silence of the night chainsawed Isak and removed it. The public outcry would not let them get away with it. Breckenridge worked with BreckCreate to relocate it, asking for Dambo to come back and rebuild the troll in the new location near Illinois Gulch. Much the same happened with the Fairy Forest, but whether or not it will be restored, as most likely it will be lost. Great gratitude to those that saved the Troll. Isak won’t be troubling the neighbors, landowners, and residences any longer – he’s next to public transportation and parking.

The new location doesn’t fully serve Dambo’s idea – of creating and putting sculptures in nature to represent the forces of nature. He still has an audacious idea of building 5-10 trolls in different faraway places across Colorado to encourage a network of hikers to travel there by foot.

To visit: From the Welcome Center, 203 South Main street, Breckenridge, Colorado – head south to Peak 9, take a left on Boreas Pass, go past the Railroad Park to the Stephen C. West Ice Arena parking lot, go to the southeast corner of the lot, by the Illinois Gulch Trailhead, and follow the Troll signs.

References:

• Anderson, Corrine 2019 “THE DANISH ARTIST WHO BUILT THE GIANT BRECKENRIDGE TROLL (TWICE) HAS SOMETHING TO TEACH US” Website referenced 3/18/21 at https://303magazine.com/2019/05/breckenridge-troll-thomas-dambo/
• Breckenridge Creative Arts n.d. “Exhibitions: Isak Heartstone”. Website referenced 3/18/21 at https://www.breckcreate.org/exhibitions/isak-heartstone-2/
• Englert, Chris n.d. “A Troll in the Woods”. Website referenced 3/18/21: https://eatwalklearn.com/breckenridge-troll-walk/
• GoBrek n.d. “How to Find the Breckenridge Troll”. Website referenced 3/18/21: https://gobreck.com/experience-breckenridge/arts-and-culture/how-to-find-the-breckenridge-troll/

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