93Zucchelli, Christine. Stones of Adoration Sacred Stones and Mystic Megaliths of Ireland. Doughcloyne, Wilton, Cork: Collins, 2007, pp. 98-9.

Maureen Concannor writes, "This Sheela is carved in symmetrical fashion and seems to have big ears or some appendage from her ears. Note the hunched shoulders, the crouched position and the arms focused on the genitals." (Concannon, Maureen. The Sacred Whore: Sheela, Goddess of the Celts. Cork: Collins, 2004, p. 60.) Crediting the Christian saint with more tolerance than he may deserve, she adds, "That it has survived in situ for over 1,300 years through puritanical times attests to the veneration people had for the early saints of Ireland, such as Adamnan. It certainly attests that Adamnan still believed in the power of the Divine Hag." (pp. 83-4)

Regarding the antlers, or horns, seen by some observers, a visual reference has been suggested to the god Cernunnos. R.A.S. Macalister writes, "There are enormous projections at the sides of the head, the nature of which, owing to the weathered condition of the monument, it is impossible clearly to make out. But they have every appearance of being a pair of horns. (See Plate VIII). A cross-legged, horned human figure can have but one meaning when found in a Celtic region. It must represent the important deity which on one of the famous Paris altars is named cernunnos. Cernunnos has all the barbaric characteristics of a very ancient, primitive deity. He seems, indeed, to be an animal god arrested while in the very process of 'anthropomorphising.'" (Macalister, Robert Alexander Stewart. Tara, a Pagan Sanctuary of Ancient Ireland, New York: C. Scribner's Sons, 1931, p. 255.)