Located near the top of one of Castleton’s rocky island outcrops and overlooking extensive flatlands many miles to the south, this impressive multi-ringed carving was rediscovered in May 1985 by the Ordnance Survey lads and, I believe, was first described in an article by Maarten van Hoek (1996), whose description we’ll get to shortly. It’s a design that incorporates some of Nature’s own cup-marks alongside the marks of men.
The overall design here is captured within three sections of the rock: between three large natural cracks running roughly north-south, as clearly shown in the accompanying photos. It’s a multi-period carving, executed over what seems to be a considerable period of time—probably several centuries. I base this on the differing degrees of erosion between the respective multiple rings — a factor found several of the Castleton carvings.
Eastern & central cup ring symbolsCloseup of central rings
One of the most eroded sections can be seen on the eastern side of the rock, where a very faded cup-and-three-rings was carved. Initially it looked as if there was no central cup to this, but as I looked across this towards the falling sun, what seemed to be a possible ‘dot’ was noticed in the centre, very faint indeed. There are several single cup-marks just a few inches east of this triple-ring, which look more recent than its eroded companion.
On the other side of the long natural crack we see two quite distinct multiple cup-and-rings: one with three rings and another with four, both of which have short carved lines running from their centres westwards. Between these, a smaller single cup-and-ring nestles quietly, almost innocuously, minding its own business! But below these two large multiple-ringers there’s a very faint cup-and-double ring, only visible when the light conditions are just right. In numerous attempts I made to catch this element in my photos, none were successful. (I’m a crap photographer, which doesn’t help!) Due to the erosion on this element, this is possibly the earliest section of the carving. Above these rings, close to the edge of the small cliff, one or two carved lines can be seen that run into natural ‘bowls’ which, in all probability, were of some significance to those who made this design. In cultures outside the UK, such elements have sometimes been afforded mythic importance.
Several other natural small ‘bowls’ exist above the most blatant of the cup-and-rings here, on the west side of the rock, which consists of a cup-and-triple-ring no less. Erosion levels on this would seem to suggest that it was the most recent element of this petroglyph.
When Maarten van Hoek (1996) wrote his report, there was much less vegetation covering the stone and another cup-and-ring could be seen on the northernmost section of the rock – as his sketch here shows. He wrote:
Westernmost elementvan Hoek’s 1996 sketch
“Near the edge are five cup-and-rings and possibly up to four single cups, all on rock sloping about 6″ to 12″ NW. The easternmost set consists of the worn remains of three rings (the innermost hardly visible) without a distinct central cup. Across a crack is a cup with four rings, the outer incomplete and curving away; another cup with four rings, mostly incomplete. A small cup-and-one-ring sits in between. South of this group may be some grooves and a single cup, all doubtful being very near the cliff-edge which is heavily pitted by erosion. The westernmost cup with three ovalish rings is the best preserved set of the group. Further away from the scarp is one single cup on a horizontal part and even further N is a cup-and-two-rings on a part sloping 6″ SW.”
It would be good to completely clear this rock and make it all visible again, as it was long long ago…
References:
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR: Oxford 1981.
van Hoek, M.A.M.,”Prehistoric Rock Art around Castleton Farm, Airth,” in Forth Naturalist & Historian, volume 19, 1996.
There’s a minor discrepancy of opinion as to the exact location of this site, so I’ve chosen to go right in-between the positions cited by Leggat (1987): SW 836 433, and Meyrick (1982): SW 838 434.
The site was mentioned by Charles Henderson, who told that around the year 1750 there was a medicinal well at Sunny Corner, known as “Glastonbury Well”. Its waters had the ability to “cure all disorders,” but its reputation was apparently short-lived, which would suggest that its fame beyond local villagers was concurrent to the rise of Spa Wells amongst the upper- classes at that time.
In the Leggats’ (1987) survey, no locals they spoke with had ever heard of the place; but that they “found a spring halfway up the lane adjacent to Sunnyside House which had been used in the past from time immemorial as a domestic water supply to a scattering of local cottages” and wondered if this might have been the long long Glastonbury Well…
References:
Adams, J.H., “The Mediaeval Chapels of Cornwall,” in Journal Royal Institution of Cornwall, volume 3 (new series), 1957.
Henderson, Charles, One Hundred and Nine Parishes of the Four Western Hundreds of Cornwall, Oscar Black: Truro 1955.
Leggat, P.O. & D.V., The Healing Wells: Cornish Cults and Customs, Dyllansow Truran: Redruth 1987.
Meyrick, J., A Pilgrims Guide to the Holy Wells of Cornwall, Falmouth 1982.
Amidst the cluster of at least twenty petroglyphs found at Castleton, this example close to the fence 60 yards southeast of the farmhouse, wasn’t included in the earlier surveys by Morris (1981) and van Hoek. (1996) At this spot there a large smooth sloping rock broken into separate parts with natural cracks running over it at different angles, partially covered in soil. The stone faces north. On the easternmost side there exists a number of carved symbols, most notable of which is a large double cup-and-ring. You can’t really miss it! The other elements however, can be a little more troublesome to see…
Cup, rings & crossCastleton 11 carving
A curious motif is the quite notable ‘cross’ that’s been pecked onto the stone, above the primary cup-and-ring. This cross is probably a later addition to the petroglyph, perhaps added to christianize the original mythic function. From the cross, it looks as if a curved line has been carved down towards the double-ring, nearly linking them together, which could also be viewed as a movement from the pre-christian to the new christian meaning conferred upon the stone. …Just an idea…
It should be noted that a faint cross was also cut into natural cracks in the Castleton 2 carving, 380 yards northwest of here.
There are two more cup-and-rings on the stone, both on the right-hand side of the cross. These were carved quite separately over large periods of time, as evidenced by their degrees of erosion. One cup-and-ring (if you can call it that) is a somewhat erratically executed series of peck-marks that strives to join up with each other, almost failing miserably, creating a somewhat disjointed cup-and-ring. Next to this, but much much fainter, is a cup-and-half-ring that was obviously carved decades, if not centuries earlier. You can just make them out in the two photos here, to the right of the cross.
Carving in negative
Another very faint cup-and-half-ring also exists to the left of the primary motif that was only visible from one or two angles when we visited the place the other day, but barely shows up on any of the photos we took. There are a number of single cup-marks, mainly between the double-ring and the smaller cup-and-rings, some of which are probably natural, but several seem to have been worked upon by human hands.
A now-hidden petroglyph—known as “Castleton-3” in the Morris and van Hoek surveys—consisting of multiple cup-and-rings, exists beneath the mass or gorse bushes about forty years to the southwest. We could do with cutting this back so we can see the carving again.
References:
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR: Oxford 1981.
van Hoek, M.A.M.,”Prehistoric Rock Art around Castleton Farm, Airth,” in Forth Naturalist & Historian, volume 19, 1996.
Nothing has previously been written of this site. Its existence came to light during one of umpteen enquiries I’d made with a well-known and very respected local lady, born and bred in Killin (sadly, a dying breed), who is known as a fount of knowledge regarding the history of the area. We were talking about the ancient sites and folklore of the neighbourhood and, amidst being her usual helpful self she asked, “have you been to the Coin Tree? The place where we leave offerings to the spirit of the place?”
I hadn’t.
“No, I’ve never heard of the place.”
“We keep it quiet, ” she said, “for obvious reasons.”
I knew what she meant. The Fairy Tree at Aberfoyle is a case in point: littered with plastic pentagrams, children’s toys and so-called “offerings” of all kinds that have made it little more than a dumping ground for pseudo-pagans and new-age nuts that needs to be cleaned regularly by local folk.
Anyhow, our informant proceeded to give us directions to find the place, going out of the village, but asked that if we were to write about it, to keep its location quiet, “as the place is still used by us”—i.e., old locals. After a slow trek along one of the roads out of the village we saw nothing that stood out. Eventually we came across a fella relaxing in his garden and asked him if he knew anything about an old tree where offerings were made. He gave us that look that olde locals do, to work out whether you’re a tourist or not and, after telling him what we’d been told and who had told us —that seemed to do the trick!
“You’d mean the Fairy Oak I s’ppose? Aye,” he said, “gerrin the car and I’ll drive y’ down to it.”
So we did. A short distance back along the road that we’d come down he stopped and walked along a to large oak tree beside the road. We’d walked straight past it—but in truth it’s not a conspicuous tree and unless you were shown where it was, you’d miss it as easily as we did (and I’m usually damn good at finding such things!). We thanked the fella for taking us to see it and he drove back home to leave us with out thoughts.
More coins as offeringsCoins for the little people
Embedded into the tree—some of them barely visible where the bark had grown over them—were clusters of old coins all around its trunk; some of them very old. These had been inserted into the tree as offerings in the hope that the little people, or the genius loci would bring aid to that which was asked of it.
In a field across the road there’s a large “fairy-mound” hillock: one of Nature’s creations, but just the sort of place where many little people are said to live in many an old folk-tale. Some such mounds are old tumuli, but this aint one of them. It’s possible that it had some relationship with the tree where the fairy folk are said to reside but, if it did, our informants didn’t seem to know.
The important thing to recognise here is that in some of the small villages and hamlet in our mountains, practices and beliefs of a world long lost in suburbia are still alive here and there… But even these are dying out fast, as most incomers have no real attachment to the landscape that surrounds them. Simply put: they see themselves as apart from the landscape as opposed to being a part of it.
Cup-and-Ring Stone: OS Grid-Reference – C 30754 37541
Archaeology & History
Incredible setting -incredible carving
This is an incredible find—dare I say a beautiful find—uncovered beneath the soil a few years ago on farmland close to the shore of Loch Swilly by one of the farm-workers. We were lucky inasmuch as when it was found he noticed curious markings on it. Informing the farmer, between them they peeled back the rest of the soil and found the incredible carving that we see here in Bettina Linke’s photos.
Etched onto a sloping stone overlooking the blue panorama that is Loch Swilly, this petroglyph has a 180º view of the landscape, from the southeast through to the northwest. This panorama—unimpaired by trees thanks to its proximity to the sea loch—was probably an important ingredient in the mythic function of the carving and is something we’ll return to shortly…
Local rock art specialist, Liam McLaughlin was informed of the discovery and, along with Bettina Linke, they met up with the farmer who showed them the carving. I have little doubt that they were very impressed by what lay before their eyes! They told that the rock,
“is aligned east-west with the visible motifs, apart from a few cup marks, situated at the western end of the outcrop. Interestingly, the northern half/leaf is little worn and individual peck marks, made millennia ago, are clearly visible, suggesting it may have been covered for most of the time. The southern half is clearly worn and smoothed out and therefor appears to have been exposed for a considerable amount of time.”
Archetypal cup-and-ringsAncient solar motif?
One of the most impressive elements in the overall design is the solar motif, i.e., a series of concentric rings (in this case three) with a number of ‘spokes’ reaching outwards as if to indicate the rays of the sun itself. This is shown clearly in one of Bettina’s photos here. This symbol is found on other neolithic carvings in Ireland: not least the incredible designs in the Newgrange complex where the solar alignment is unmistakable.
The discovery of the carving was reported to the Irish National Monument Service and added to the Heritage Environment Inventory where a detailed report was subsequently written, much of which is extracted here:
“The rock art panel is on an outcrop of bedrock, aligned east to west and slightly sloping in this direction towards Lough Swilly and Knockalla Mountains, also known as the Devil’s Backbone. It lies in an arable field near a field wall in rough ground. Visibility is good to the SE, S, W, and NW across Lough Foyle and the Fanad peninsula.”
On the northern section of the stone,
“There are three large motifs and well preserved with cup and pecking marks between them. There are traces of a fourth large motif on the east end but the rock surface has been eroded or damaged, making it impossible to ascertain the design of the motif.
“Starting from west to east, the top large motif has three rings and a diameter of 43cm. The centre cup mark is shallow and has a diameter of 5cm. There is second shallow cup mark between the 2nd and 3rd ring in the southern part of the motif. Its diameter is 3cm. One tail, is running from the inner ring outwards to the west and a second one is running towards the north. Peck marks, covering the motif, are still visible, particular in the rings.
“The motif below has four rings and a diameter of 39cm. The centre cup mark is very shallow and has a diameter of 4cm. And like in the above motif it has a tail running northwards. But a special mentioning has to be made of the unusual heart shape of its rings with the indentation to the south. Peck marks are still visible in the rings. As far as could be made out, there are five cup marks between those two motifs with diameters between 3cm – 5cm. This part also contains several single peck marks of about 1cm in diameter.
“The next large motif below has a diameter of 37cm, three rings and a centre cup with a diameter of 3cm. A tail appears to divide the motif into an eastern and western half. Another tail seems to run from the centre cup through the inner and middle ring towards east.
“Large peck marks of 1cm diameter cover the entire motif, which can be particular well seen in the embossed space between the middle and outer ring. There are more, large peck marks above the motif to the west as well as four possible shallow and small cup marks. Although the two closed to the motif, in what appears to be a twin configuration, could be two independent but slightly damaged peck marks.
“All of the three motifs on the northern wing leave the distinct impression that they may have been sun wheels with some spokes no longer visible or not visible during our visits.
“The southern wing:
“Like the northern ring the large motifs are placed in the western end of the wing with only a few cup marks on its eastern tip. The edges of the carvings are rounder and more worn, although some rings and cup marks are distinctively deeper. The latter might suggest that these motifs were carved at a different time and by different hands. It also appears that this wing was longer exposed than the northern one.
“The motifs are as followed from west to east: two deep cup marks on the northern side. Diameter for the upper one 5cm in diameter, for the lower one 4cm. There could be a shallow third one below and a damaged one to the south.
“Next in the centre of the wing is a large, three ringed motif with a diameter of 40cm and a centre cup mark, 3.5cm in diameter. Some of the photos show possible if faint tails or spokes, suggesting that this also could be a sun wheel motif. No visible peck marks. Below is a small double ring motif with a diameter of 17cm and a centre cup mark with a diameter of 2cm. Just below and to the south-east is a cup mark, circa 3 cm in diameter. Beside it to the east another cup mark about 5cm in diameter. There are one or two, maybe three circa 2.5cm cup marks in the white lichen area to the north-east of the small ringed motif. And some faint peck marks appear between the large 3 ring motif above and the small ringed motif close to the natural split of the bedrock. The next motif below is a deep double ring motif with a diameter of 26cm and a centre cup mark of 5cm. No tails or spokes could be detected. The white lichen area with up to three possible single cup marks is just beside it, close to the natural dividing crack.
“In the middle of the southern wing are faint traces which suggest that there could have been another motif, now destroyed, of an estimated diameter of 28cm.
“The eastern tip has one large cup mark of 10cm and 3 small cup marks between 2.5cm and 3cm. There might be a fifth but damaged cup mark.”
Somerville’s astronomical linesThe setting sun: a mythic function?
The fact that the stone itself is aligned east-west and pointing towards the outline of the Knockalla Mountains, suggesting “a solar/sunset alignment at the equinoxes” may well be true, but whether this was intended or not is another matter.
Intriguingly, one of the archaeo-astronony pioneers, Boyle Somerville (1909) wrote a article in the Journal of the Royal Society of Antiquaries of Ireland about a number of summer solstice alignments he thought existed in this precise locale. Amongst them was one he found running from the standing stone at Cloghbane on the other side of Loch Swilly—known as the White or Rowan Stone—heading northeast to the small mountainous peak of Bulbin, approximately 7.1 mile away. Somerville found that,
“The outline of the mountains visible to the northward from Cloghbane shows two sight-lines that undoubtedly were used from this position. One is for the summer solstitial sunrise over the prominent peak Bulbin; the other is over a low and small but conspicuous round-topped headland, towards the mouth of the Lough, which is in line with an exactly similar hill behind it; their two summits being practically coincident, forming a single sky-line; so that, from Cloghbane, their angle of elevation by theodolite is the same.”
The primary motifs
The first alignment is the relevant one here: it not only relates to the rising sun at solstice in 1000 BC, but our Glebe petroglyph lies right on the edge this alignment! (give or take a few yards) Whether or not this is a coincidence we cannot say for certain, but the ‘solar motif’ in the design would seem a strong indicator that implies some sort of solar function here.
As always with cup-and-rings, their non-linear designs tickle our minds with possibilities, probabilities and that there thing called the mysterious, which Einstein described as “the source of all true art and science…”
One final and important thing to anyone who may want to visit this site: please contact the farmer and ask his permission if you want to see it. Cheers. 😉
Acknowledgements: Massive, huge huge thanks to Bettina ‘Grianan Swilly’ Linke for the superb photos and data for this site profile. And (although he doesn’t know it yet!) thanks are also due to the farmer and his employee who rediscovered the carving and to Liam McLaughlin who put pen to paper and told the rest of us about it.
Follow the same directions as if you’re visiting the impressive Fairy Stone carving, then 3 yards east is the Cottingley 2 double cup-and-ring, keep walking past through trees for another 5-6 yards where you’ll come across this reasonably large curved flat stone. Y’ can’t really miss it
Archaeology & History
Cup, with ring faintly visible
This was another carving in the small cluster by the Fairy Stone that I found on my visit here in the 1980s—but it’s a pretty innocuous one to be honest. There’s a faded incomplete “ring” (not really visible on my photos due to pouring rain and very poor light when I was here) with a distinct cup-mark in the middle. Several inches away from the cup-and-ring is a carved line that arcs around it creating an incomplete oval design; and what seems to be a single cup-mark is visible at the top of this oval. Other marks on the stone are both natural as well as recent ‘scratches’.
Some elements of this carving—as with others in this petroglyph cluster—seems to be modern. The cup-and-ring seems to be the real deal, but the ‘oval’ seems to have been added much more recently, perhaps by the scouts who play around in this part of the woods.
Get yerself to the Fairy Stone, then walk east past the adjacent woodland carvings—numbers 2, 3 and 4—from where you should walk about another 10 yards east across the grass, keeping your eyes peeled for a large flat stone measuring about 6ft by 10ft just as you go back into the tree cover north-side. You’ll find it.
Archaeology & History
This large carved rock is the easternmost known petroglyph in this small woodland cluster of five. (a sixth one can be found, but it’s several hundred yards east from here) Consisting of two distinct cup-and-rings in relative proximity to each other on the northern section of the stone, this design—unlike others in this group—has a greater sense of stylistic authenticity to it. Despite this, one of the two cup-and-rings seems to be a more recent addition to the rock, as close inspection shows peck marks that aren’t very well eroded as you’d expect on rock of this type if it was truly ancient. The more faded cup-and-ring on its northwestern section looks to have a greater sense of age about it when we look at its erosion level….perhaps…
The 2 Cup & RingsThe 2 cup-and-rings
We have to take into consideration when looking at this carving and the others nearby that possess some quite peculiar design-elements, that this section of woodland is used extensively by boy scouts who do what boy scouts do in their teenage ventures: from making fires, climbing trees and, perhaps, scribing on stones if/when their elders aint looking. It’s an important ingredient that has to be taken into consideration when looking at the more rash motifs hereby—this carving included. The more faded cup-and-ring on this, however, may be the real deal. And hopefully, next time I visit this site, She’ll not be dark and pouring with rain (much though I love such weather), so I’ll be able to get some better photos!
Follow the same directions as if you’re visiting the impressive Fairy Stone carving, then check out the overgrown rock three yards away, to the east. You might have to rummage under the scrubbage to see it, but you’ll find it if you want to!
Archaeology & History
I first found this stone in the 1980s when I’d been shown the Fairy Stone carving which, at the time, was thought to be all alone. But I used the olde adage: “where’s there’s one cup-and-ring, others tend to be“—and found this and several others closed by.
Large messy cup-and-ring
It’s a relatively small, slightly-domed earthfast rock, upon which we find an unusually large cup-and-double-ring design with a carved line running from the large central cup out to the edge of the stone. However, the carved lines that constitute both the inner and outer rings are ‘crude’ in form and style when compared to the vast majority of other British petroglyphs; and for some reason, this aspect of the design has me casting doubts over its prehistoric authenticity. I hope I’m wrong!
References:
Bennett, Paul, ‘Tales of Yorkshire Faeries,’ in Earth 9, 1988.
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milverton 2001.
By the side of the stream known as St Andrew’s Burn, in the small wooded glen to the rear (west) of the Crosslaw Caravan Park (right by the side of the A1107 road), you can still find the flowing waters of this all-but-forgotten holy well that was dedicated to Scotland’s patron saint, god knows how long ago! The first description I’ve come across relating to the site is in William King’s (1858) early work on Coldingham Priory, where he told that,
“In a dean a little westward from the village, and on the border of the property of Bogangreen, is a spring of excellent water, called St Andrew’s Well, from which the monastery was supplied by leaden conduits, portions of which are occasionally turning up to view. These pipes are thick and well made.”
Fifty years later when Adam Thomson (1908) penned his magnum opus on Coldingham parish, the well was still in a good state of affairs. Hereby there grew much chamomile which, he thought, “the monks were wont to cultivate for the healing of the sick.”
Folklore
St Andrew’s feast day is November 30 and is known as Anermas.
References:
Hunter, William K., History of the Priory of Coldingham, Sutherland & Knox: Edinburgh 1858.
Take the A917 road southeast out of St Andrews, heading towards the hamlet of Boarhills about 4 miles away. However, about a half-mile before you get to Boarhills, keep your eyes peeled for a small minor road on your right, signposted to Dunino, 3 miles. Go along here for about 350 yards where you’ll reach a track cutting across the road. Walk up the gently sloping field here on your right and you’ll see, 400 yards from the road whence you’ve parked, a tall thin upright stone standing alone…
Archaeology & History
Highlighted on the 1893 and 1896 OS-maps (as merely a “Stone”), this tall and incredibly skinny standing stone has seen better days. After many-a-millenia, the god of storms cut the stone to the ground not too many years ago, leaving it broken in the middle o’ the field where once it stood. Thankfully however, local folk ensured that it was eventually resurrected and fixed into position once more, albeit in a somewhat ugly cage—or corset as Mr Hornby called it!
The Royal Commission (1933) lads checked the stone out for inclusion in one of their damn good surveys, they told us the following:
“About midway between the farms of Polduff and Peekie, and on the south side of the Anstruther and St Andrews Railway, 200 feet above sea level, there is a fine block of red sandstone, which rises to a height of just over 9 above ground. It averages 4¼ inches in thickness and measures 2 feet 4 inches wide across the broad faces. The stone has been set up with the major axis north-east and south-west and has been well packed round the base with smaller stones.”
Interestingly—to me anyhow—when the monolith was recently stood back in its upright position, the archaeo’s found a spring of water beneath it. Many dowsers (and I don’t mean the ones who fallaciously reckon they’re finding ‘energy lines’ all over the place) have found the crossing of underwater streams and water sources to be a common feature beneath megalithic sites.
Folklore
In Richard Batchelor’s (1997) short work on the ancient sites of this area, he calls attention to what a Mr N. Dow thought was a ley-line passing from the cairn on top of Kellie Hill 4¾ miles (7.64km) away, northeast to the Peekie Stone, and which Mr Batchelor points out is close to the major lunar standstill.
References:
Batchelor, Richard A., Origin of St Andrews, Shieling: St Andrews 1997.
Royal Commission on the Ancient & Historical Monuments, Scotland, Inventory of Monuments and Constructions in the Counties of Fife, Kinross and Clackmannan, HMSO: Edinburgh 1933.
Acknowledgements: Huge thanks to Paul Hornby for use of his photos.
