Takes a bitta finding this one – especially a this time of year when the bracken’s high – but it’s worth the walk. You’re probably best finding your way to the open-air carving on the slopes above Westcliff Farm, the Guisecliff Wood 626 carving (it’s pretty easy to find). From here, walk eastwards across the top of the two fields until you hit the old gate that take you back into the woods. Now it gets difficult! Walk less than 100 yards in the same direction, if you’re lucky, along the small footpath that runs pretty level through the trees, keeping your eyes peeled for a large sloping rock above you. I’d say that it’s probably best to start checking the relevant rocks (large ones) after 50 yards in the trees, just to be on the safe side. If you aint been here before it’s probably best to check it out at the end of Winter or during Spring time. Good luck!
Archaeology & History
As noted by several people in our visit here the other day, some aspects of this carving are similar in design to the Tree of Life Stone on the eastern edge of Askwith Moor, 10 miles south of here. But the features on this large carved rock have intriguing elements of their own here: not least of which is the large square ‘box’ into which a cluster of otherwise normal cup-and-rings are enclosed. It’s a unique feature in prehistoric carvings in this part of the world — although such ‘box’ motifs can be seen further north at Dod Law in Northumberland.
The fainter cup-and-ringsBoughey & Vickerman’s 2003 drawing
There are two distinct sections of carvings on the stone, both of which have a similar tree-motif patterns, but the boxed one grabs your attention more once you’ve sat with the stone for a while. The other small cluster of cups are a little more difficult to notice, but once you see them they almost grow into life! You can just make out the surrounding rings and lines around some of these fainter cups, which I tried to capture in the photos (but without much success).
Our visit here didn’t pass without some voicing the thought that ‘box’ section could have been added at a much later date — perhaps a Victorian addition? But we could be way off the mark with that one!
There’s every likelihood of other carvings being found in and above the woodlands here, though any further exploratory excursions here can wait till winter time, as the Nature’s summer growth here is considerable and covers most of the rocks in green. The carving was first described in Boughey & Vickerman’s (2003) text as a
“Very large rock with extensive flat surface on which there seems to be two separate designs. Seven cups are joined in a branch-like pattern, the whole within a square groove from which the ‘stem’ of the branch just protrudes; away from this is an approximately linear feature with three cups enclosed by linked rings at one end and then six more cups with a partial ring.”
If you’re a rock art enthusiast, or a real healthy heathen, this site is well worth checking out!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
From Pateley Bridge take the B6265 road towards Grassington, turning left just a coupla hundred yards over the river bridge, towards Bewerley. Go through the hamlet and take the second on the right, up the steep zigzagging lane. A half-mile up the hill, watch out for the track onto Westcliff Farm. Go along here and onto the footpath, then as you walk through the field, look uphill where the long wall runs into the trees, and you’ll see a rock in the walling near the top. That’s it!
Archaeology & History
Just over the edge of the northern section of The Intakes at the western end of Guisecliff Wood, on a large rock in the walling near the very top of the field above Westcliff Farm, we find this little-known but very impressive cup-and-ring stone.
Close-up of some cupsBoughey & Vickerman’s drawing
Upon first sight the rock was aptly described by Danny Tierney as being like a Viking Hogback Stone with cup-markings along the sloping side of the long rock as it grew into the drystone walling. He had a point! It’s a curious carving (how many times do I say that!?), with the majority of the cup-marks and lines etched into the south-sloping face of the rock. Other cups found further down the stone stretch along the eastern side towards ground level; and we have a small line of cups etched onto the normal horizontal face halfway along the stone.
The carving was rediscovered by Stuart Feather in the ‘Sixties and was all-but-forgotten until Boughey & Vickerman (2003) rejuvenated it in their catalogue. They told it to be:
“Large rock of coarse grit lying with long uneven surface E to W, at ground level to S and E, but with high N and W faces. Up to eighty cups but some may be due to pebbles or other natural causes; one cup has two half-rings which, like some grooves visible, suggest a now incomplete design.”
The fascinating ‘boxed’ cup-and-ring stone of Guisecliff Woods 629 can be found less than 200 yards east of here, in the trees, and is certainly worth seeking out!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Feather, Stuart & Hartley, C.E., “The Yorkshire Archaeological Register, 1964: Bewerley. W.R.”, in Yorkshire Archaeological Journal, volume 41, 1965.
Follow the same directions to get to the cup-marked stone on the slope behind Duncroisk Farm. Once here, look up the hillside and about 100 yards above you there’s the fence, and a gate in the fence. Go through that gate and walk uphill for some 20 yards where you’ll meet with a large sheet of flat sloping rock with a stream by its side. The crosses are on this rock sheet at the top left-hand side.
Archaeology & History
Although the stone here is pretty easy to find, the insignia carved on the rock itself can be troublesome to see. The accounts by both Cormack (1952) and Morris (1981) each recommend visiting the site around sunrise, but an hour before sunset is also profitable if you wanna see the design with any clarity. And of course, if you keep the rock-face wet (the adjacent stream is handy here) the carvings stand out even better!
Main section of carvingSolar cross & arrow?
It’s a quite superb carving in a truly superb setting, come rain, shine or mist — but for the cup-and-ring aficionado’s amongst you this one might not get y’ going, as we’re looking at a carving that was probably born of the more recent mythic period. Although there are between two and four faded cup-markings here, the principal designs do not echo the more usual neolithic and Bronze Age carvings scattering this part of Perthshire. Instead we find very worn examples of what have been variously called “solar wheels”, “Greek crosses”, Celtic crosses, etc. We also find simple carved ‘arrows’ at the ends of both natural and man-made lines in the rock; along with very distinct ‘eye’ or vulva symbolism. (Crawford 1957) Added to this is the possibility of human figurines discernible in the carving, very similar indeed to those found in Spain (Kuhn 1956) and elsewhere.
Mr Cormack’s 1952 rubbing of the stone
The site was first described by E.A. Cormack (1952) who wrote the following, (slightly edited) piece:
“Examination of the rough and sloping rock surface revealed an interesting group of inscribed figures, confined to an area of about 8 by 2½ feet, four of which included a cross within a circle. The figures are difficult to discern, except when thrown into relief by early morning sunlight, but are clearly demonstrated on a rubbing.
“The crosses may be described in three groups:
“Group 1 — a) Near the upper edge of the rock is a cross within a circle of 8-inch diameter. The vertical axis of the cross is extended below the circle for 4 inches, resting on an ill-defined rectangular base, and upwards for 5 inches to form an arrow-head with 3-inch barbs. At the junction of the shaft of the arrow with the top of the circle is a pair of contiguous rings of about 1-inch diameter. The cross is deeply cut, to about a half-inch depth, with equal arms 4 inches long and 1 inch broad. The left arm of the cross extends beyond the circle, but this may be due to the circle being slightly excentric in relation to the cross. The lower right quadrant of the circle is marred by a natural crevice in the rock, but careful examination shows that the circle does not cut the right arm of the cross.
b) On each side of this figure is a roughly circular marking, one about 4 inches above and to the left, of 3-inch diameter, and the other 2 inches to the right, of about 5-inch diameter. In each there is an indefinite depression across the centre.
“Group 2 — a) About a foot below and to the right of Group 1 there is a boldly cut cross within a 7-inch circle. Again the vertical arm of the cross is extended above and below the circle, downwards for 5 inches to a curved arrow-head with 4-inch barbs, and upwards as an equal armed 5-inch crosslet above which is a 4-inch circle with the central axis continued through it. (The junction of this axis through the circle with the top of the small cross is slightly angled.) The main cross and circle are cut to fully half an inch in depth and one inch in breadth, but the upper part of the figure is much less distinct.
b) About 8 inches to the left of the upper part of the above figure is a very faintly incised cross within a 2½-inch circle. It is difficult to discern on the rock, but can be seen in the photograph and is very clear on the rubbing. It also appears to have an arrow-head above it.
“Group 3 — a) A foot below and to the right of Group 2 is a clearly cut cross within a 6½-inch circle. A natural cleft in the rock has been used for one axis of the cross, which lies obliquely to the others already described, and this axis terminates in an arrow-head 3 inches below the circle, and another slightly smaller arrow-head is cut 2 inches above the circle; in each case the angle formed by the arrow being towards the circle.
b) Immediately below the last cross is a curious hieroglyph not easy to make out on the rubbing, but clear in the photograph. On an 18-inch vertical axis can be seen from above downwards an arrow-head, an oblique line to the left, a faint 2-inch circle, a transverse stroke, and finally two oblique lines to the right. A natural crevice to the left of the figure rather confuses the picture.”
Ron Morris’ (1981) description wasn’t as detailed and he was initially hesitant about using the site in his rock art survey of the area, as he thought it “most likely to be early christian” in nature and period. He changed his view after talking with an associate at Bergen University, who pointed out that the symbols found here up Glen Lochay were “exactly the same as Norway’s second commonest symbol, the ‘Cross-ring’, which is contemporary with their cup-and-ring series.” Morris described the carvings here as:
“3 ‘cross-rings’ and 7 other rings, some of which have traces of crosses within them. There are also grooves, some extending from a ‘cross’-line to form an ‘arrowhead’, and one group, with ring above, rather resembles a ‘man.’ Largest ring diameter, 20cm (8in) and greatest carving depth, 1cm (½in).”
Examples of the artistic symbolism found at this ‘Duncroisk Crosses Stone’ are scattered throughout western Europe from the Bronze Age period onwards: notably at Dowth and Clonfinloch in Ireland (Brennan 1983; Coffey 1912); Jonathan’s Cave, Fife (Simpson 1867); Valcamonica, Italy (Anati 1961); and all over Norway and Sweden (Coles 2005; Gelling & Davidson 1969; Janson 1966). In more recent times we find these curious symbols etched inside the prehistoric chamber of Ty Illtud (Grinsell 1981) — but these are thought to be later additions. However, the universal nature given to such interconnecting symbols such as those found here is, simply, ritual magick. We find it across the Himalayas, Africa, north and south America – just about everywhere. It would be quite wrong to believe that the presence of an encircled ‘cross’ on this stone relates it to a christian belief system, as such a motif is found in many non- and pre-christian societies with a mythic nature akin to that of the swastika, i.e., of a world unfolding or emerging from a centre-point and the arms of the ‘cross’ outwards defining the directions and boundaries of any specified cosmology: be it landscape, heavens, spirit worlds, pregnant belly, etc.
Solar cross? Eye? Vulva?…or dancing human figure?
As Cormack (1952) described, the respective groups of carvings are integrally linked by an interconnecting line that joins the symbols in the respective groups to the other symbols. The fact that the connecting ‘lines’ are natural is meaningful in the relationship between humans and Nature; but moreover, the connecting line linking the symbols strongly implies sequential reasoning and magickal import. Indeed, these three distinct clusters (see Cormack’s rubbing) are functionally akin to magickal sigils, examples of which are found across the ancient and modern world. This is a notion that must be given serious consideration as a function in the carved stone of ‘Duncroisk 4’. Equally we can see in one section of the carving what may be a dancing human figurine, very much like rock carvings found elsewhere in Europe and beyond.
Both Erich Neumann (1973) and Alex Marshack (1972), for slightly different reasons, would also see the images carved here as early expressions of human development: either through i) the emergence of archetypal patterns and the interpretative interplay of the ego, or ii) the intellectual evolution of magickal appliance, whereby imagery and human action are recognized as meaningful in a wider natural sense. In the case of Duncroisk 4 it would more likely possess magickal import, as symbols were much more than ‘art’ and possessed meaning on several interconnecting levels, one of which being ritual function — an element that modern archaeology is slowly learning to incorporate into its analyses.
Dancing Siberian ShamanDancing shaman figure?
A more in-depth comparative essay is really needed to give a clearer exposition defining the nature of this carving… My personal view is that the carving represents, not some solar design, but one of Britain’s earliest artistic examples of human beings, in this case dancing and beating a drum or bodhran. It may indeed be the earliest pictorial example of a bodhran in the country. I’d say so. There is also the distinct possibility that the dancing figure is a shaman. We have many petroglyphs from all over the world that highlight such a character, integral to all early cultures—and this is as likely a contender as any for such a figure. (see Gough 1999; Whitley 2000, etc) It may however, be a warrior with a shield. You see the problems we can have with these damn carvings! 🙂
Folklore
This carved rock is said by local people to have been where a ‘Celtic’ saint delivered sermons to the heathen populace. The saint concerned is likely to be the one who tradition tells gave his name to the small glen immediately across the track from here: St. Charmaig. Halfway up the small glen is a small cave, barely accessible, with untouched remains of dried roots and other elements of human habitation therein. A few hundred yards to the north in old Finn’s Glen, is the forgotten Waterfall of the Oracle which sometimes isn’t even there!
References:
Anati, Emmanuel, Camonica Valley, Alfred Knopf: New York 1961.
Brennan, Martin, The Stars and the Stones: Ancient Art and Astronomy in Ireland, Thames & Hudson: London 1983.
Coffey, George, New Grange and other Incised Tumuli in Ireland, Dolphin: Poole 1977.
Coles, John, Shadows of a Northern Past: Rock Carvings of Bohuslan and Ostfold, Oxbow: Oxford 2005.
Grinsell, Leslie V., “The Later History of Ty Illtud,” in Archaeologia Cambrensis, 131, 1981.
Janson, Sverker & Westman, David, Rock-Carvings at Fiskeby, Esselte AB: Stockholm 1966.
Kuhn, Herbert, The Rock Pictures of Europe, Sidgwick & Jackson: London 1956.
Marshack, Alexander, The Roots of Civilization: The Cognitive Beginnings of Man’s First Art, Symbol and Notation, Weidenfeld & Nicolson: London 1972.
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR 86: Oxford 1981.Neumann, Erich, The Origins and History of Consciousness, Bollingen Princeton University Press: New York 1973.
Royal Commission on the Ancient & Historical Monuments of Scotland, Archaeological Sites and Monuments of Stirling District, Central Region, Society of Antiquaries of Scotland 1979.
Simpson, James, Archaic Sculpturings of Cups, Circles, etc., Upon Stones and Rocks in Scotland, England and other Countries, Edmonston & Douglas: Edinburgh 1867.
Whitley, D.S., The Art of the Shaman: Rock Art of California, University of Utah Press 2000.
Pretty easy to find this. Go up Glen Lochay for 3 miles or so, on the road past the brilliant Stag Cottage carvings for a couple of hundred yards where you’ll see an old run-down army-looking building and past that is a curious large wooden and wire construction. Go up the farm-track next to this, past Duncroisk Farm, taking the footpath through the gates that go up to the side and behind the farm. You’ll see a rounded grassy knoll ahead of you. Head straight for it!
Archaeology & Folklore
This carving would appear to have been described for the first time by Mr Cormack (1952) in his longer essay on the cross-marked stones nearby. He said briefly:
“On the top of a small rock-strewn knoll about 300 yards behind Duncroisk farmhouse is a recumbent boulder, at one corner of which is a group of five fairly deep cup-marks of 2- to 3-inch diameter.”
Little else has been said of the site and even Ron Morris (1981) only gave the carving a brief mention in his survey, saying in passing how “east of a prominent rocky knoll, on whose summit is a cup-marked boulder…”, as he journeyed further uphill to explore the fascinating Duncroisk 4 carving with its scant cup-marks, human figurine and other curious insignia. And although this carving is probably only worthwhile for the real fanatics amongst you, I like the place — sad fella that I am!
Cup-marked stone, looking southClose-up of cups
There are five very distinct cup-marks etched onto a small, almost triangular section of the rock, sat close to a couple of other larger stones on top of the grassy knoll overlooking the glen, not far from some iron age walling. The cups are etched onto the topmost (northern) section of the rock, which is defined by a natural crack running across the surface, almost splitting one part of the stone from the other. The five cups are in no discernible linear formation. A possible sixth cup-mark and extended line may have been started on the other side of the crack on the stone, but its execution was stopped for some reason. This is by no means certain though.
Of some note is the larger stone immediately adjacent on top of this knoll, which — as Paul Hornby pointed out — is encrusted full of small garnets all over its surface. This may or may not have some significance to the cup-marked stone here. According to Mr Hornby, the nearby cup-and-ring stone at Duncroisk Burn also has garnets in it.
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR 86: Oxford 1981.
Royal Commission on the Ancient & Historical Monuments of Scotland, Archaeological Sites and Monuments of Stirling District, Central Region, Society of Antiquaries of Scotland 1979.
Get yourself to the impressive multi-ringed Greystone Allotment carving, then walk to the copse of trees close by and bear left, following the edge of the fence along and following it when it turns down at right-angles, until you hit the bottom corner of the trees, where a path cuts in front of you. From the bottom corner of the trees walk 25-30 yards diagonally away from the trees. It’s under your nose somewhere damn close!
Archaeology & History
This is another archetypal cup-and-ring stone, similar in size and design to the recently discovered Slade (02) carving on Blubberhouses Moor, just over 4 miles (6.5 km) northwest (followers of Alexander Thom’s megalithic inch theory might be interested in assessing the measure of these two). It is one of number clustered in and around this small grass ‘moorland’ region, where a number of carvings perished in the 19th century. Thankfully this one survived. Boughey & Vickerman’s (2003) brief notes on the stone tell:
“Small, rough grit rough of regular oblong shape set very low in turf. Two cups, each with a ring, and connected by a groove.”
On a recent visit to see this carving, Danny Tiernan, Paul Hornby, James Elkington and I were unable to locate it. The carving may well have been destroyed, or moved. If anyone is aware of what has happened to this petroglyph, please let us know. We will be contacting the local authorities to see if any explanation is forthcoming from them.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, West Yorkshire Archaeology Service 2003.
Park at Stump Cross Caverns on the B6265 road, then walk down the road for 200 yards till you reach the track on your left running over the fields in the direction towards Simon’s Seat. Walk on the track for about 600 yards until there’s a change of direction in the adjacent walling and then watch out for the dirt-track on your right, curving towards the small valley (if you hit the Skyreholme Wall carving (413), you’ve gone 100 yards past the turn-off). Go on here until you see the overgrown track on your left into a small disused quarry, and head right, down the grassy slope, checking out the few stones ion front of you 20 yards down. You’re damn close!
Archaeology & History
Carving no.404 (after Boughey & Vickerman)
A simplistic carving that was first described by fellow antiquarian Stuart Feather (1964), this is one of at least four cup-marked stones in a small group here, above the valley of Skyreholme Beck — better known at this part of the valley as the Troller’s Ghyll, haunt of various heathen lore. Although some of the carving has now been covered by the growing Earth, you can still see the majority of the design.
It is a flat, roughly triangular stone described by rock art students Boughey & Vickerman (2003) and having 13 cup-markings on it. To get a full look at the entire carving, you may have to roll a bit of the turf away from one side of the rock.
Folklore
Although we have no lore relating to this specific carving, the small valley over which this carving looks was long known as the abode of the legendary bharguests, or black dogs: underworld creatures of earlier heathen myths. Faerie lore can also be found a short distance further up the same stream.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Same directions as the Slade 01 carving. But once you reach the upstanding stone cairn on the rocky hill, walk 220 yards (less than 200m) WSW and look around. You’re damn close! If you find the large cup-marked Slade 03 carving, walk back east about 10-20 yards and you can’t really miss it!
Archaeology & History
This is just one of at least seven previously undiscovered carvings on this section of moorland – and it’s worth looking for! The two other names we gave it — ‘owl’ and ‘sunset’ — come from the very notable design: owl thanks to it having the appearance of large owl-like eyes, and sunset as the two cup-and-rings are etched on the western edge of the rock and, when we found it yesterday, the sun was setting (albeit to the NW) and the image prompted talks of setting suns, the land of the Dead and other such worldwide indigenous religious myths (Harvey 2000) — for without recourse to such ingredients, these carvings are vacuous archaeocentric museum pieces and nothing more. And this carving at least deserves much more than mere cataloguing! The internationally renowned archaeologist, O.G.S. Crawford (1957) would have entered this carving into his ‘eye’ and ‘owl’ motif, representative of goddesses or spirit-forms, as would Gimbutas. (1989)
…and from above
But this carving is archetypal, as we can see, though would appear to have no other etched features on the stone’s surface. It is very close (if not within) the prehistoric graveyard that is plainly evident 30-40 yards south in the burnt heather and would very likely have had some mythic relationship with the dead (a symbiosis we have found in many cup-and-rings). We plan further ventures here in the coming weeks in the hope that we can unearth other prehistoric remains.
References:
Crawford, O.G.S., The Eye Goddess, Phoenix House: London 1957.
Gimbutas, Marija, The Language of the Goddess, Harper Collins: New York 1989.
Harvey, Graham (ed.), Indigenous Religions, Cassell: London 2000.
From Blubberhouses church by the crossroads, walk up the slope (south) as if you’re going to Askwith, for 100 yards or so, taking the track and footpath past the Manor House and onto the moor. Once you hit the moorland proper, take the footpath that bears left going down into heather and keep going till you hit the dead straight Roman Road path running west onto Blubberhouses Moor. Go on here for nearly a mile until you hit the stream and nearby Eagle Stone boulder. Walk upstream from here, on its eastern (right-hand) side for 100 yards, then walk up onto the level moor, scattered with rushes. Keep up here, heading towards the upright cairn open the skyline to the north. Once here, walk 80 yards (73m) WNW and you’ll note a number of flat stones embedded in the heather around you. You’re damn close!
Archaeology & History
Off-path and takes some finding and will all-but disappear when the heather grows back, so this one’s probably only for the purists amongst you. But I like it anyway! This is one of at least seven newly-discovered cup-marked stones hereby, including the nearby ‘Owl Stone’ with it’s big eyes! There are just two cup-marks on the flat surface: one an archetypal large cup 3 inches across and a half-inch deep; the other, a small faint cup less than 2 inches wide and very shallow which is easily missed if you pay little attention. On the photo here, the fainter cup is slightly above right of the centre. The carving appears to be on the far eastern edges of the Slade Cairnfield. Other undiscovered remains are likely to be found here.
From Appletreewick take the road east through Skyreholme and up Skyreholme Bank, bearing right at the fork in the tracks along the ancient Forest Road. Keep going till you cross the Larnshaw Beck and keep walking along the track until it runs wallside. Look over the wall and you’ll see this sloping-chair-shaped rock . You’re here!
Cup-Marked stone 431
Archaeology & History
Worth looking at if you’re visiting the Spiral Stone of Eller Edge field and its large associate, but otherwise this cup-marked stone is probably only for the purist rock-art mad-folk amongst us! There are what seem to be three decent cup-marks upon the sloping face of the rock here, with a possible pecked line to the side of two of them — though we have to consider the possibility that a geological condition is responsible for the easternmost cup. Described in the Boughey & Vickerman (2003) survey simply as:
“Large triangular rock of smooth gritstone, quarried at SE and sloping into ground at W and N. Three cups on top sloping face.”
Thirty yards up the slope along the wall-side you’ll find carving 432 with its single cup-marking.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
A slight walk to get here, but well worth it once you arrive! From Appletreewick, take the road east through Skyreholme and up Skyreholme Bank track, bearing right at the fork in the tracks along the ancient Forest Road. Keep going and after a couple of zigzags, you’ll cross the Larnshaw Beck. Keep walking along the track until it runs wallside — and here, go straight down the field for 75 yards (best climbing over the rickety wooden bridge by the stream 50 yards back and walking up). Although there are a number of other stones hereby, you can’t really miss this.
Archaeology & History
This carved stone and its close associates rest upon the green slopes overlooking the Blands Valley and further across upper Wharfedale and the lands beyond. The majestic Simon’s Seat rises on the nearby western slope and there in the greater distance, once more reaches the sacred hill of Pendle, with whom so many other ancient sites commune within our northern lands. It’s hard to say for sure that the Witch’s Hill was of little relevance to this and other stones, but only a fool would ignore the geomancer’s notes about this constant.
The carving here doesn’t give much clues in any direct sense either. We have an almost arrowhead-shaped rock with a dozen decent cup-marks or so cut along and near its western side; but the notable curiosity here is the small circular cluster of smaller cup-marks dotted in a near circular mass near the middle of the stone.
When Danny, Paul and I came here the other week, the initial impression of this cluster was one of a primitive solar symbol etched onto the rock; but the more we looked, the more it seemed that these small cups appeared to have been arranged in a very rough spiral lay-out. Now I know that spirals are damn rare items in rock art (especially in this part of the world), but the more we looked and then subsequently checked Boughey & Vickerman’s (2003) illustration, the more evident it became. Of course the ‘spiral’ could be merely fortuitous, but I’m not so sure misself. In discussing this with our field archaeologist later, he suggested getting a rubbing of this part of the stone on his next visit.
The stone was first described by the petroglyph explorer Stuart Feather (1964) and later described by the rock art students Boughey & Vickerman (2004), simply as:
“Large, rough grit rock with face sloping SE down into grass at N. About twenty cups to W, with three grooves at N corner and group of about twenty small cups at NE.”
A very intriguing carving. And if you visit here, make sure you check out carving 424 and others in the same field.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
