Statues, Moving
The belief that images of gods, goddesses, and saints might
become imbued with divine force and acquire movement is an
ancient one, and such miracles have been reported of both
Christian and nonChristian images. In the 1980s, the belief was
revived in Ireland, where a statue of the Virgin Mary at Ballinspittle,
County Cork, attracted nationwide interest after claims
by many witnesses that they had seen it move.
Moving Statues in Ancient History
Many reports of miraculous statues in pagan times were undoubtedly
fraudulent, just as there are known cases of moving
statue hoaxes in modern times. It is well known that ancient
peoples constructed lifelike images of their gods and goddesses.
Plato and Aristotle stated that the Greek Daedalus was said
to have made statues that not only walked but also needed to
be tethered at night to prevent them from walking away. Aristotle
described a wooden statue of Venus that moved as a result
of quicksilver being poured into the interior. Pliny reported
that the architect Timochares began using loadstone (magnetized
ore) to construct the vaulting in the temple of Arsinoê at
Alexandria, to suspended in midair an iron statue inside. Such
a levitating statue would have been a great wonder if the plan
had succeeded. Procopius described a complex clock that the
engineers for the ancient Romans were responsible for having
figures of gods and heroes that moved on the hour.
Lucian related how a certain Alexander caused a statue of
Aesculapius to speak by using the gullet of a crane to transmit
a voice through the mouth of the statue. In the fourth century,
Bishop Theophilus described statues at Alexandria that he
broke open and discovered to be hollow; they were placed
against a wall in such a position that priests could slip behind
them and speak.
It was believed that in ancient Egypt there were numerous
statues of gods, said to deliver oracles. The Pymander Asclepios
(attributed to Hermes Trismegistus) asserted the Egyptians
‘‘knew how to make gods,’’ i.e., to install deities, angels, or demons
in statues, with the power to do good or evil. Although
such statues have not survived, it seems probable that they were
animated by priests. The archaeologist Gaston Maspéro
(1846–1916) stated (Journal des Debats, December 21, 1898)
‘‘There were thus obtained genuine terrestrial gods, exact
counterparts of the celestial gods, and, as their ambassadors
here below, capable of protecting, punishing and instructing
men, of sending them dreams and delivering oracles.
‘‘When these idols were addressed, they replied either by
gesture or by voice. They would speak and utter the right verdict
on any particular questions. They moved their arms and
shook their heads to an invariable rhythm. . . . And as they assuredly
did nothing of all this by themselves, someone had to
do it for them. Indeed, there were priests in the temples whose
business it was to attend to these things. Their functions, being
anything but secret, were carried out openly, in the sight and
to the knowledge of all. They had their appointed places in ceremonies,
in processions and the sacerdotal hierarchy; each individual
knew that they were the voice or the hand of the god,
and that they pulled the string to set his head wagging at the
right moment. Consequently this was not one of those pious
frauds which the moderns always suspect in like circumstances;
no one was ignorant that the divine consultation was brought
about by this purely human agency.
‘‘Things being so, one wonders how not only the people but
the kings, nobles, and scribes could have confidence in advice
thus proffered. . . . The testimony afforded by monuments
compels us to acknowledge that it was taken seriously until paganism
died a natural death, and that all who played any part
in it did so with the utmost respect. They had been brought up
from childhood to believe that divine souls animated the statues,
to approach these living statues only in the most respectful
dread and awe. . . . Their mental attitude was that of the modern-day
priest who ascends the altar. No sooner has he donned
the sacerdotal garb and repeated the first few sacramental
words than he no longer belongs to himself but to the sacrifice
he is about to consummate; he knows that at this voice and gesture
the elements will change into precious blood and flesh,
and he continues unperturbed the work which he is certain he
can accomplish.’’
Such a reverential attitude to manipulating statues, if true,
offers an alternative theory to views of either miracle or fraud.
Similarly, in some societies, shamans may invoke divine inspiration
by initial trickery, acting out a miraculous situation by
conjuring tricks as a preliminary to creating the emotional atmosphere
in which heightened consciousness and genuine
phenomena may arise.
However, there are also many claims in both ancient and
modern times that statues have actually moved independently
of humans. In some cases, rival religions did not deny the miracles
but asserted that they were demonic, not divine. In analyzing
a passage from Hermes Trismegistus concerned with ‘‘statues
animated by divine association, which do great things,
foretell the future and heal diseases,’’ St. Augustine did not dispute
the claims, but commented that ‘‘this art of binding genii
to statues is an ungodly art . . . Instead of serving men, these
would-be gods can do nothing, except as devils’’ (Civitas Dei,
book 8, chapters 23, 24). The Synod of Laodicea defined idolatry
as ‘‘the art of invoking demons and incorporating them in
Starhawk Encyclopedia of Occultism & Parapsychology • 5th Ed.
Moving Statues in Modern History
Throughout history, moving statues have tended to be reported
at times of civil, political, or religious crisis, in which a
breakdown of morale or the imminence of national disaster
seemed beyond human aid, inviting divine intervention. In
1524, Italy was overrun by French armies and coping with
floods, famine, and plague. During this time, when Rome itself
seemed threatened, a statue of the Virgin Mary at Brescia was
reported to open and close its eyes and to move its hands,
bringing them together and separating them in a gesture of
sympathy. Thousands of witnesses attested to the phenomenon,
and similar moving statues were reported in other towns.
After the crisis, such miracles ceased.
A similar event took place in 1716, when Turkish forces
threatened war on Venice. One man claimed that the Virgin
Mary had appeared to him in a vision and stated that if enough
prayers for souls in purgatory were offered up, the infidels
would be defeated. A crowd assembled in front of a statue of the
Virgin Mary, and some of those present later declared that the
statue opened and closed its eyes to confirm what the visionary
had stated. The senate of the city and the local bishop affirmed
their belief in the reality of the phenomenon.
Eighty years later, when the French revolutionary forces
threatened the Papal States during 1796–97 there were numerous
reports of Virgin Mary statues opening and closing their
eyes or shedding tears. These miracles were claimed in many
churches in Rome and also all over the country. A papal commission
examined over nine hundred witnesses and reported
favorably on the reality of the phenomena. The manifestations
subsided when Napoleon Bonaparte entered the Italian seaport
town of Ancona and ordered the statue of the Virgin Mary,
which had been one of those reported to move, to be covered
In 1870, at Soriano, Calabria, Spain, there were reports of
a statue that appeared to move its hand and arm. In 1919, at
Limpias, Santander, Spain, pictures of saints were reported to
move their eyes or drip blood, some even stepping out of their
panels. Hundreds of sworn statements attesting to such miracles
were obtained. Many similar incidents were reported in
Spain, in 1893 at Campocavallo and on five separate occasions
at Rimini between 1850 and 1905. In the latter cases, paintings
of saints were said to shed tears.
The reports from Limpias, Spain, were investigated by Professor
A. Encinas of Santander University, who compared notes
with the scientist E. R. Jaensch. These and similar cases were
ascribed to collective hallucination, specifically arising from the
psychological phenomenon of eidetic imagery.
In his book The Mechanism of Thought, Imagery and Hallucination
(1939), J. Rosett commented ‘‘The reports of mystics and
of devotees about pictures and statues which moved and spoke
like living persons and performed miracles are . . . not necessarily
fraudulent. An understanding of the mechanism of attention
and its relation to the state of falling asleep, and of the hallucinations
associated with that state, offers a rational
explanation of such reports.’’
According to Jaensch in his important study Eidetic Imagery
‘‘Topical perceptual (or eidetic) images are phenomena that
take up an intermediate position between sensations and images.
Like ordinary physiological after-images, they are always
seen in the literal sense. They have this property of necessity
and under all conditions, and share it with sensations. In other
respects they can also exhibit the properties of images (Vorstellungen).
In those cases in which the imagination has little influence,
they are merely modified after-images, deviating from
the norm in a definite way, and when that influence is nearly,
or completely zero, we can look upon them as slightly intensified
after-images. In the other limiting case, when the influence
of the imagination is at its maximum, they are ideas that, like
after-images, are projected outward and literally seen.’’
Eidetic imagery has relevance to the visual faculty of artists,
who can ‘‘see’’ their subject on the blank paper or canvas. It
may also have relevance to the phenomenon of crystal gazing.
The existence of various explanations for moving statues—
deliberate fraud, sacramental or ritualistic manipulation, hallucination
through eidetic imagery—offers a number of explanations
that must be discarded before any claims of paranormal
phenomena can be considered.
It would be wrong to assume that moving statues belong
only to earlier history. In 1985, there were numerous reports
of statues moving, bleeding, or weeping throughout Ireland.
Cases were reported from over thirty localities during a few
months of that year. Interestingly enough, no cases were reported
from Northern Ireland during this period, although
there is a large Catholic population there.
Characteristically, the period was one of cultural, political,
and religious unrest. The cultural unease was focused around
a 1983 referendum on amending the constitution to protect
the rights of unborn children. New legislation liberalizing the
availability of contraceptives and the promise of a referendum
on the issue of divorce (not permitted by the constitution) had
excited conservative protests. All this came to a head with the
1985 judicial inquiry into the case of an infant corpse discovered
with stab wounds in Chirciveen.
It was against this background that statues of the Virgin
Mary were reported as moving throughout Ireland. It began on
February 14, when several children in Asdee, County Kerry,
claimed to have seen a statue of the Madonna and child at the
parish church of St. Mary open its eyes and move its hands. An
eighty-year-old farmer also stated that he saw the Madonna
blink three times. Thousands of people visited the church, but
there were no further reports.
A few weeks later, children at Ballydesmond, County Cork,
stated that they saw a statue move in the local church, but parents
ascribed this to their imaginations. A group of tourists at
Courtmacsharry, County Cork, claimed to have seen a statue
near the town move, but no other movements were reported
and the affair died down.
In July, two teenage girls reported seeing movement in a
statue of the Virgin Mary in a grotto some 20 feet up on the side
of a hill at Ballinspittle. Soon other people reported seeing the
statue change expression or move, and large crowds gathered
regularly to watch and recite the rosary. Many people claimed
to have seen the Virgin’s eyes or hands move, or the statue to
move back and forth or sway from side to side. Thousands of
pilgrims visited the shrine, which became the central focus for
stories of statues that moved. Pilgrimages and reports of moving
statues persisted for over three months and subsided at the
end of October, when vandals smashed the hands and face of
the statue with an axe and a hammer.
Meanwhile, throughout August and September, further reports
of phenomena associated with the Virgin Mary came
from all over the Ireland. In Mitchelstown, County Cork, children
stated they had seen black blood flowing from a statue of
the Virgin Mary and an apparition of the devil had appeared
behind the statue. Many pilgrims gathered, and other young
people claimed they saw the statue move. Four teenage girls
said a statue at the local Marian shrine spoke to them and
called for peace.
In Dunkitt, County Waterford, a statue of the Virgin Mary
in a grotto on the main Waterford to Kilkenny road was reported
to have been seen moving. Some people claimed the statue
breathed and the hands moved from center to right. A local
publican and his wife stated the statue shimmered. Thousands
of pilgrims visited the grotto.
In Waterford, two young boys stated a statue of the Virgin
Mary outside the Mercy Convent School moved its eyes, which
were full of tears, and spoke of Pope John Paul II being assassinated.
Hundreds of people kept vigil around the statue. At
Mooncoin, County Waterford, several youths stated they saw a
statue move, and a girl said she saw a tear fall from the right
Encyclopedia of Occultism & Parapsychology • 5th Ed. Statues, Moving
eye of the statue and the left eye open and close. Local people
gathered at the site.
In the scores of cases reported from all over the country, it
seems the statues appeared to move, rather than physically shifting
position. Psychologists pointed out that staring at statues in
dim light, especially with a glare from an illuminated halo,
could result in optical illusions. However, the essential and
more elusive aspect of the phenomenon was the religious fervor
associated with it, and the feelings of spiritual grace experienced
by many individuals.