Cup-and-Ring Stone (lost): OS Grid Reference – SE 0828 4507
Archaeology & History
Described by Boughey & Vickerman (2003) as being located somewhere “below Dirk Hill Sike” in the Rivock woods plantation, this is (or was) a “medium, upstanding rock lying NW-SE (with) one possible heavily weathered large cup-and-ring: cup 75mm diam. and ring 200mm diam.” However, the authors give no references to this site, nor images, or notes as to who rediscovered this stone. In their survey they also included one of the Bucking Hill carvings twice, giving the impression that there was more here than had previously been reported. These errors have subsequently been repeated elsewhere on-line. In saying this, there are a number of rocks scattered in this area which may have had carvings on them, but it’s been heavily forested and, recently, the trees have been felled and so many of them will have been damaged, turned over, or simply destroyed as a result of the forestry shennanigans.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Coming via the Keighley-Bingley (Airedale) B6265 road, go up to Riddlesden and then up the winding Banks Lane until you reach the T-junction. Turn left here and about 330 yards along, on the right-side of the road is a dirt-track. Walk up here, sticking to the track (not the footpath) towards the cliffs of Rivock ahead of you, going through the gate and into the Rivock woods area. 450 yards on from the gate, on your right you’ll pass the long straight line of walling running uphill and literally 275 yards further along the track from here, walk straight up into the trees for 20 yards where, just before the slope begins to truly veer into an “uphill” state, you’ll see the stone in question!
Archaeology & History
Cups on east-side of stone
In 1961 when Stuart Feather rediscovered this carving, the “rock was almost completely covered by a six-inch layer of peat and vegetation.” But, like all good rock art explorers, he slowly and carefully peeled it all back and brought back to light another one of Rivock’s olde stories. We know not what the story on the rock might tell, but it looks good nonetheless! Feather counted “several cups carved on it”, but a few more have ben discerned since then. When Boughey & Vickerman (2003) described it in their typically minimalist way, they told it be a “large square rock with surface in slope of hill. About nineteen cups.” Evocative stuff!
Sketch of basic designFaint line visible, left-side
When I first saw visited this carving as a young lad, the thing which stood out to me more than anything was the long but faint line that ran down one section of the stone. Added to this was an equally faint arc attached to the side of the line, like a “D” form. A few months later I did a sketch of it on my second visit, but I’ve looked and looked and seem to have lost it. (not good) The one I’ve done here is a recent one. As we can see, a series of cup-marks straddle each side of the D-line and are plainly visible, which implies that the line was carved much earlier than the cups. Of course, it’s possible that the cups were repeatedly forged over and over many times over a century or more and the D-line, for whatever reason, left untouched.
Another interesting aspect of this D-line is its repetition in the much more ornate petroglyph 35 yards to the east (presently known as Rivock 67 until we devise something more appropriate). The recently rediscovered Slinger Stone 100 yards south may also have the same feature, but this needs further surveying before we can say for sure.
References:
Bennett, Paul, ‘The Prehistoric Rock Art and Megalithic Remains of Rivock & District (2 parts),’ in Earth, 3-4, 1986.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Feather, Stuart, ‘Mid-Wharfedale Cup-and-Ring Markings: No. 14, Rivock,’ in Cartwright Hall Archaeology Group Bulletin, 7:1, 1962.
Hedges, John (ed.), The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Acknowledgements: With thanks to Andy Roberts for giving this stone its modern name.
On the north side of Cookridge, find Smithy Lane and go to the western-end, where it meets up with a dirt-track. Walk straight along here by the side of the cricket-pitch and then take the first turn left where you walk along the other edge of the cricket pitch. About 150 yards along, the track hits the woods; keep along here for about another 200 yards where you’ll find a small footpath on your left goes into the woods. Once you’re in in the trees, walk to your right, following the wall, for about 50 yards where you’ll see a large flat stone by the holly trees. That’s it!
Archaeology & History
Rediscovered by the Leeds historian Don Cole in the 1940s, this complex multi-period carving etched onto a flattened rock surface is an unusual outlier from the Rombalds Moor complex several miles to the west. At its heart, around the semi-natural deep “cups” near the middle of the southern side of the stone, is the oldest part of the carving comprising a very faint incomplete triple-ring design which, as we move around it, almost has the look of a Newgrange-lozenge form to it. But I’m unsure…
Very faint incomplete triple-ring at top-middleWaves & cups and rings
More obvious (apart from the deep “cups”), and the first thing you notice as you approach the stone, are the later and much more well-defined elements on the east side of the stone: a curious wave-form writhes from the edge of the rock across its smooth surface, beneath which we find a cup-and-ring and a number of single cup-marks, some enclosed inside a rounded box, with others sat between the curved carved line and the stone’s edge. The “rounded box” with its three cups at first seems to be on its own, but as the light changes you’ll notice a much fainter (possibly older) rectangular box attached to it; no cups are visible inside this.
A hundred yards due south in the same woodland you’ll find the Gab Woods (2) carving.
One interesting feature is the name of the woodland in which the stone resides. In Thomas Wright’s massive dialect work, Gab is a northern dialect word meaning “to talk”, or “idle chatter” (and variants thereof); this is echoed in Blakeborough’s (1911) Yorkshire survey; and Wilkinson’s (1924) local study tells simply it to be “idle talk…able to talk glibly and with much plausibility—a Town Hall Square orator for instance.” This makes the place as something akin to being “the woodland that talks”, “the chattering woods” or “the talking woodland”, etc. You can make up your own mind as to what this might mean… *
References:
Blakeborough, Richard, Wit, Character, Folklore and Customs of the North Riding of Yorkshire, W. Rapp: Saltburn 1911.
Wright, Joseph, English Dialect Dictionary – volume 2, Henry Frowde: London 1900.
Acknowledgements: Huge thanks must go to Peter Murphy for recovering this impressive carving from beneath the carpet of soil and vegetation, and so enabling it to be seen by others once more. Also big thanks to the usual culprit of James Elkington, as well as Sarah Walker and Sarah Jackson.
* a Scottish dialect variant of gab relates to the mouth, tongue, taste.
You can take the same directions to get here is you follow the route for the Hawksworth Spring (01) carving, or take this alternative route. Take the standard road from Guiseley along Hawksworth Road. When you reach the first row of old houses in the village, a couple of hundred yards on you reach the village school and, shortly after the footpath is sign-posted. Walk left (downhill) through the field for half-a-mile until you reach the woods. 100 yards into the into the trees, walk to your right and follow the line of walling straight for 400 yards, then veering right up the slope and it then slowly bends round, keeping to the wallside all along. It then starts heading back downhill. As it does so, 10 yards from the wall into the woods you’ll see the broken triangular rock of the Hawksworth Spring (01) carving. Walk another 10 yards where the large holly bushes are and you’ll see the large sloping stone in front of you.
Archaeology & History
This carving is similar in nature to its companion 10 yards away, inasmuch as each of them possess two small arcs of cup-marks almost in the same format, very close together, one above the other near the top of the stone. It’s possible that the mythic nature/function of this particular element of arcs is the same on each stone—although fuck knows what it might be!
Clear line & faint line of arcsClear arc of cups
Below this double arc (only one of which is clearly visible in the photos) we see a scatter of other cup-marks—perhaps six, perhaps seven—one of which appears to have a very faint incomplete ring round it. When Liz Sykes and I visited the place, the light of day and the shadows across the rock didn’t help to convince us one way or the other, so we await news from other visitors who get better light conditions to tell us whether our hopeful eyes were deceiving us or not. There are a number of other marks on its surface, but these are much more recent and very obviously cut, or rather scratched, by metal artifacts with no bearing on the prehistoric design.
References:
Boughey, K.J.S. and Vickerman, E.A., Prehistoric Rock of the West Riding (Supplement), Shipley 2018.
Acknowledgements: Huge thanks to Liz Sykes for her renowned cleaning skills!
Through Baildon town centre, take the road onto Baildon Moor, but instead of turning left up to Baildon Hill, keep straight on the Hawksworth road and 100 yards along you’ll see a car-park is on the right-hand side, just before you start going downhill. From here, walk down the road a couple of hundred yards until you see the footpath (keep your eyes peeled!) turning right towards The Whitehouse, and from there take the footpath dead straight down to the woods below. Cross the stream, turn right, then immediately left uphill by the wall-side. Shortly before reaching the top you’ll see a large triangular sloping slab of rock with a tree at its top. That’s it! Alternatively you can come via Hawksworth village by following the directions to the Hawksworth Spring (02) carving, which is just 10 yards east of this one. Easy!
Archaeology & History
Sketch of carving (after Hedges 1986)Note the faint cup, top-right
This minimalist design is best seen from above the adjacent rock which, in times gone by, was attached to this very same stone. The main aspect of the carving are the two short rows of three cups, running almost alongside each other, in a likeness which my compatriot Liz Sykes said “was like some animal footprints.” It’s not a bad description to be honest (this same motif is found on a companion petroglyph just a few yards to the east: the Hawksworth Spring [2] stone). If you follow the direction of the “animal tracks” to the western end of the stone, you’ll see another isolated cup with a faint incomplete ring around it. You can just make it out on the photo to the right. Another single cup-mark seems apparent two-thirds the way down the stone.
References:
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Acknowledgements: Huge thanks to Liz Sykes for her renowned cleaning skills!
Cup-Marked Stone (missing): OS Grid Reference – SE 1687 3868
Archaeology & History
Sketch of the missing cup-marked stone
This carving was originally located somewhere close to the old disused Brackenhall Mills on the edge of Thackley, just before you drop down to Thackley tunnel. It was uprooted sometime in the 1950s and taken several miles away to the Cartwright Hall Museum at Manningham, Bradford, where it sat outdoors behind some fencing for many a-year, accompanied by the large fossil of an ancient tree.
I first saw it there when I lived close by in 1981, in the days before I had such a thing as a camera. Hence I only have this scruffy old sketch of the design, which I did without adding any notes to help remind me which carving it was! So this sketch has sat, all-but-forgotten, on a scrap of paper since then, until I recently sussed out which carving it was!
The stone itself was akin to a very large portable rock, with a simplistic design consisting of at least nine cup-marks cut into one of the rounded faces. One account of the stone suggested there may have been a possible incomplete ring around one of the cups. When I went back to see the stone about 20 years ago, it had gone. So I called into the adjacent museum to inquire what had become of it. The curator (or whoever it was) that I spoke with told me that the stone had been put into a box and placed in the cellars, but refused to let me see it. I asked to make an appointment to see the stone and he refused that too. It has not been seen since. Does anyone know what’s become of it?
References:
Keighley, J.J., “The Prehistoric Period,” in Faull & Moorhouse’s, West Yorkshire: An Archaeological Survey to AD 1500 (WYMCC: Wakefield 1981).
Healing Well (destroyed): OS Grid Reference –SE 1672 3866
Archaeology & History
Along the footpath below the family graveyard at Thackley, the great genealogist and industrial historian J.H. Turner (1878) told that, “at the right hand side of the wood, at the bottom, is Scout Willie’s Well, formerly noted for its medicinal properties” – though whatever curative aspects it possessed have long since been forgotten. It was also known as the Sweet Willie Well. I perused the woodlands here searching for the well in my younger days but could find no trace of it; nor is anything shown on the early OS-maps of the area.
References:
Turner, J. Horsfall, Idle Upper Chapel Registers and Graveyard Inscriptions, Bingley 1878.
The best/easiest way to approach this and the Rivock carvings as a whole is to reach the Silsden Road that curves round the southern edge of Rombalds Moor (whether it’s via East Morton, Riddlesden, Keighley or Silsden) and keep your eyes peeled for the singular large windmill. About 200 yards east of this is a small parking spot, big enough for a half-dozen vehicles. From here walk 450 yards east along the road till you hit the dirt-track/footpath up towards the moor. Follow the track up for about 400 yards and you’ll see the crags a half-mile ahead of you. Get up there to the Wondjina Stone and follow the walling east for about 175 yards where you’ll see a track-cum-clearing in the woods. Walk along and the first large stone on your left is what you’re after.
Archaeology & History
I first visited this carving in my teenage years in the 1970s, before the intrusive so-called “private” forest covered this landscape and when its petroglyphic compatriots were easier to find. Thankfully this one’s still pretty accessible and possesses a damn good clear design. It was rediscovered in the 1960s by Stuart Feather and his gang, zigzagging their way across the open moors, pulling back the heather to see what they might find. His description of it told how the stone,
“has two roughly level areas, one 18ins and the other 2 feet above ground level. Both (levels) have several well-preserved cup-and-ring markings on them. There are eight single cup-and-rings and 18 cups, two of the latter being joined by a clear channel seven inches long and 1½ inches wide. Nearly all the markings are unusually well preserved and the pocking marks are very clear.”
Note the line running down
He also had “the impression that all the markings on this stone and possibly one other similar stone in the Rivock area have been carved by the same hand, as all the symbols are nearly identical in in type, size and execution.” (this other carving he’s referring to seems to be one about 170 yards to the north, where occasionally “offerings” have been found)
The design from E-W
When John Hedges (1986) and his team checked the stone out he could only make out “seven cups with single rings, twenty two other cups”; whilst the ever descriptive Boughey & Vickerman (2003) saw “twenty-nine cups, eight with single rings.” Eight cup-and-rings is what most people see when the light’s right. There’s also a long, bent carved line on the lower level of the rock, running from near the middle of the stone out to the very edge. It seems to be man-made (although I may be wrong) – and I draw attention to it as this same feature exists on at least three of the other large and very ornamental cup-and-rings hereby within 300 yards of each other – and on these other carvings the long “line” is definitely artificial. Tis an intriguing characteristic…
Stuart Feather’s old sketch
When visiting this petroglyph you’ll notice how some of the carved elements on top of the stone are more eroded than those on the lower section. This is due to the fact that the lower section was only revealed by Feather and his team in the mid-20th century, after it had been covered in soil for countless centuries. As a result you can still see the peck-marks left by the implements that were used to make the carving, perhaps 5000 years ago!
The name of the stone was inspired by a local lady who saw an astronomical function in the design (I quite like it as well). Examples of petroglyphs representing myths of heavenly bodies have been described first-hand in some tribal cultures and, nowadays, even a number of archaeologists are making allusions about potential celestial features in some carvings in the British Isles. That doesn’t mean to say that it’s correct, but the idea’s far from unreasonable…
Anyhow – check this one out when you’re next up here. You’ll like it!
References:
Bennett, Paul, “The Prehistoric Rock Art and Megalithic Remains of Rivock & District (parts 1 & 2),” in Earth, 3-4, 1986.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Deacon, Vivien, The Rock Art Landscapes of Rombalds Moor, West Yorkshire, ArchaeoPress: Oxford 2020.
Feather, Stuart, “Mid-Wharfedale Cup-and-Ring Markings – no.16 – Rivock,” in Cartwright Hall Archaeology Group Bulletin, volume 8, no.10, 1963.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Morris, Ronald W.B., “The Prehistoric Rock Art of Great Britain: A Survey of All Sites Bearing Motifs more Complex than Simple Cup-marks,” in Proceedings of the Prehistoric Society, volume 55, 1989.
Acknowledgments: Huge thanks to Collette Walsh for use of her photos.
If you’re coming via the Keighley-Bingley (Airedale) road, go up to Riddlesden and then up the winding Banks Lane until it meets the edge of the moors. At the T-junction, turn left and about 330 yards along on your right there’s a dirt-track. Walk up here, sticking to the track (not the footpath) towards the cliffs of Rivock ahead of you, going through the gate and into the Rivock woods area. About 450 yards on from the gate on your right-hand side you’ll see the long straight length of walling that runs uphill—and about 60 yards up here, on the left-hand side of the wall you’ll see a very large boulder. Y’ can’t really miss it!
Archaeology & History
2 of the several cups here
This large natural block, embedded into the hillside about 80 yards below the Wondjina Stone and its companions, is nothing much in the petroglyphic visual scale of things, but is worth checking out for a break if you’re checking out the other good designs in the Rivock cluster. Upon its sloping flat two-tiered surface there are just a small number of randomly spaced cup-marks of varying sizes: six at least, but perhaps as many as nine altogether. In times gone by (many years ago) we thought one of them might have had a very faint ring around it, but on my last couple of visits here I couldn’t see anything.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Cup-Marked Stone: OS Grid Reference – SE 0745 4470
Getting Here
Rivock Top stone
Best approached via the Wondjina Stone, then over the wall and follow the geological ridge that bends into the trees. It’s difficult to find amidst the dense forest and is another one of those carvings that’s probably only for the purists amongst you.
Archaeology & History
If you’re doing the Rivock rock art tour, you might as well give this a go once you’ve checked ou the decent ones nearby. Here, on a rather large stone we find, on its uppermost ridge, three faint cup-marks next to each other in a very slight curve. The cup-mark in the middle is slightly larger than its two compatriots and might be natural. If you were to wet the rock when the sunlight is just right, you’ll probably get a better idea of its real appearance—otherwise we’ll have to let the computer-gadget lads suss it out!
