If you wanna find this, get onto the Low Plain north of the Dobrudden caravan park and its about 10 yards off the path running north from there, not too far from the other Baildon Hill carvings. Scramble about a bit & you’ll find it.
Archaeology & History
W. Paley Baildon’s early drawing
Don’t ask me why, but I really like this carving. It’s one of the many I first saw on these moors when wandering about up here when I was 10-12 years old — and they had an effect on me. I call this one of the “primary design” stones, i.e., a number of CRs on this moor (and everywhere else for that matter) appears to have a central design feature. (I’ll point out the others as I post ’em) Some folk think it’s just the slant of the local rock-artist…I think it’s summat a bit different… Local astronomer Gordon Holmes (1997) found a similar pattern here and thought they may have represented star formations, but this is unlikely.
It was first described and illustrated by W. Paley Baildon (1913), way before Mr Jackson (1955) resurrected its attention for archaeologists.
References:
Baildon, W. Paley, Baildon and the Baildons (parts 1-15), St. Catherines: Adelphi 1913-26.
Boughey, K.J.S. & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Holmes, Gordon, 2000 BC – A Neolithic Solstice Odyssey, SASRG 1997.
Jackson, Sidney, ‘Cup-and-Ring Boulders of Baildon Moor,’ in Cartwright Hall Archaeology Group Bulletin, 1:7, 1955.
Truly takes a bit of finding this one! I s’ppose the easiest way to locate it is by approaching it from the south, from Askwith village, up Hall Lane. Keep walking up the footpath to Top Moorside Farm; then past it, sticking to the same path. A hundred yard or so past here we get onto the moor itself. As you hit the moor, you’ll see that the land rises slowly ahead of you: this is Hollin Tree Hill and you need to walk up here (don’t do this in the summer as it’ll be covered in bracken and you’ll not find a damn thing!). Just before the land starts to levels-out at the top of this small rise, you’ll come across some hut circles. You’re here!
image courtesy of Graeme Chappell
You can also come to this carving via the Askwith Moor parking-bit, then walk along the well-trod footpath, past the triangulation pillar of Shooting House Hill for a coupla hundred yards, then walk straight south into the moor. But to those of you who aint got the nose for it, there’s no footpaths here and some folk might easily lose their way. However, if you reach the rise of Hollin Tree Hill a few hundred yards down the moor, watch out for those same hut circles mentioned elsewhere atop of the rising land. You’re damn close!
Archaeology & History
One of my very favourite cup-and-ring carvings this one! It was discovered about 1991 when Graeme Chappell and I were on one of our many archaeology wanderings, seeking out prehistoric remains on the moors north of Ilkley. First described and illustrated in Bob Trubshaw’s (1996) archaeomythics journal, it was later included in The Old Stones of Elmet (2001: 149-152). But when we first found it, this carving – on the vertical face of a small stone, beside an unexcavated hut circle – sent me a bit crazy, as the ‘human’ image in the carving struck me immediately. Needless to say, Graeme was all calm about it while I jumped around like an excited tit! As far as we’re aware, this is the earliest representation of a human figure in the British Isles. There are several other contenders in cup-and-ring design, but this seems the most probable of the lot. Graeme Chappell took a rubbing of the stone several years after we’d found it and the outline clearly shows the image of a human figure. The carving was later catalogued by rock art students Boughey & Vickerman (2003) in their Yorkshire survey as ‘stone 516.’ A female compatriot, the Woman Stone, can be found a few hundred yards east of here, at the bottom of the slope by the near horizon.
The fact that the carving occurs on the southern vertical face of a prehistoric hut circle may have had some significance about the structure itself. Petroglyphs on hut circles are rare—and this one occurs right at the entrance to the structure, the door into the circle. It may represent an image of the person who lived in this hut circle, or perhaps symbolized the nature of the character living there. The carving shows that the person was wearing a head-dress, akin to a horned-man figure – but much much earlier than anything previously recognised in British iconography. The figure may well be a shaman who, perhaps, lived at this circle. The carving was probably painted in lichens and other dyes
The Man Stone carvingBoughey & Vickerman sketch
Be careful not to wander around looking for this when there’s fog on the hills. You’re unlikely to find it! On an excursion up here several years back with Prof. Thomas Dowson and students from the Southampton University Rock Art course, we wandered about all over the place in the dense fog but were unable to find the damn thing! Twas a bittova freaky day, as half the students started crying (they thought I’d got them truly lost in the middle of nowhere as I didn’t have a map, a compass, walking boots, etc – which is how I usually do my wanderings, but they weren’t to know that!) and we must have walked within 10 yards of the carving, but it remained hidden from our prying eyes. But if you like your rock art, check this one out!
Cairn (destroyed): OS Grid Reference – NZ 6950 1886
Archaeology & History
Frank Elgee’s 1930 plan
Another old site that has sadly succumbed to that bollox called ‘progress’! It’s in the North Yorkshire region some halfwits have taken to calling Cleveland — but which a lotta local folk still correctly call Yorkshire. But that aside…
In an article by local students William Hornsby and Richard Stanton written in 1917, we find that this was just one of at least seven hillocks presumed to be barrows here — but all the others had gone even in their day. When Crawford (1980) came to survey the site in the late 1970s, he told that,
“this large barrow is now only visible as a low swell in an arable field… (but) the profile of the barrow is retained in the hedgeline that bisects it from north to south, but the whole of its eastern half has been obliteratd by the Brotton-Kilton road.”
Elgee’s 1930 photo of one of the carvingsE.T. Cowling’s drawing of one of the carvings
When Hornsby and Stanton checked the place out it measured 54 feet in diameter and had an extensive covering of small stones, like a large cairn, with a single grave at the centre, aligned north-south; and a tree-trunk coffin on the southwestern side. Of the stones which filled the central grave, eight of them were found to have cup-markings on them; whilst 16 stones covering the tree-trunk grave also possessed cup-markings. Roughly equidistant between the two burials was another stone found to be resting face-down on the original ground-level, and covered with 20 cups and 5 cup-and-rings! Awesome stuff!
G.M. Crawford’s (1980) description of the site was as follows:
“Howe Hill was excavated by Hornsby and Stanton in 1914; they discovered that the mound was made up with a clay floor, overlain by ‘a cairn 30 feet long and 3 feet high’ of diorite cobbles, capped by a layer of earth. Cut into the clay floor were two graves: the first was oriented north-south and measured 2m long by 0.9m wide at the old land surface and was 0.7m deep. The grave was filled with ‘medium sized stones’ with a ‘thin dark layer,’ thought to be an inhumation burial, on the floor; 8 of the stones bore cup-marks. The second grave, oriented northeast-southwest, was 2.5m long by 0.9m wide at the old ground surface, reducing to 1.8m long by 0.5m wide at its bottom, 1.3m below. This grave, which was filled with stones, also contained a tree-trunk coffin or oak, measuring 1.5m long… At the head (northeast) were found the unburnt skull fragments of a man laid on its right side. Unaccompanied cremations had been placed at both ends of the coffin. 16 cup-marked stones were among the infill of the grave.”
This was obviously a site of considerable importance and it’s a huge pity (if not a disgrace) that today no trace of the site remains.
References:
Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
Crawford, G.M., Bronze Age Burial Mounds in Cleveland, Cleveland County Council 1990.
Elgee, Frank, Early Man in North-east Yorkshire, John Bellows: Gloucester 1930.
Hornsby, William & Stanton, Richard, “British Barrows near Brotton,” in Yorkshire Archaeology Journal, 24, 1917.
Smith, A.H., The Place-Names of the North Riding of Yorkshire, Cambridge University Press 1928.
From Ilkley, head up the road towards White Wells and keep going along the road. Shortly before the road becomes a dirt-track, just over a small stone bridge with gorse all around, there’s a noticeable footpath that runs west onto the moors, going roughly parallel to the wealthy houses by the moorside. Keep going along this footpath and you’ll hit the recently unneeded modern creation of a large sandy trackway (and excessive litter that it’s created) that takes you straight to the curious railings stuck upon some rocks a quarter-mile away. That’s where you’re going!
Archaeology & History
This famous carving was first described as a ‘swastika’ by a Mr J. Thornton Dale around 1880 – and the name seemed to catch on damn quick! The stone had become established with this title at the end of that decade, and seemed immortalized with the name when J. Horsfall Turner wrote about it in the very popular history book he co-authored with the reverend Collyer in Ilkley Ancient and Modern. (1885) By then, comparisons had already been drawn with the acknowledged swastika symbol in Tossene, Sweden, and by the time Harry Speight described it in his colossal Upper Wharfedale (1900), other near-identical European swastika carvings had been found in Valcamonica, northern Italy. (though these lacked the ‘tail’ found on Ilkley’s carving)
J.R. Allen’s drawing of Swastika StoneEric Cowling’s drawing of Swastika Stone
Earlier images of the swastika symbol can be found in most continents, but the earliest known example appears to be the paleolithic swastika carvings from the Ukraine, etched on pieces of ivory and dating from between 18,000-15,000 BC. Some swastikas have been found carved on mammoth tusks!
Invariably in modern history it is its mythic association of the swastika to certain political imbeciles which troubles many people, but this needs to be set into a much more ancient historical context. The symbol ostensibly relates to sacred notions of the cosmos in all the non-literate cultures where it appears. Numerous surveys by comparative religious scholars isolated the nature of the design many years ago. The Leeds Buddhist, Steve Hart, said that Ilkley’s Swastika Stone:
“to a Buddhist should be a sonorous gatha (a sutra or verse), a plenitude of transcendental boddhisattvic vision. The swirling wheel of the four arms suggests the four realms as experienced by Jains, upanishadic sages and ancient Buddists. They ARE samsara. The samsara is resolved into the nirvana at the hub. The four realms are the human realm, god realm, hell realm and the nature realm. There are no clear delineated demarcations between these realms. All interpenetrate.”
(Images of the popularised ‘modern’ swastika – a huge misnomer – can be found on several church bells in Yorkshire, where they were used as charms to protect against lightning, following in the mythic fashion of Thor. These swastikas date from the 15th century.)
Evan Hadingham’s rubbing of the Swastika Stone
I first saw this carving when I was 10-years old and it had one helluvan effect on me! I stood and stared at it (or rather gazed, without thought…) for some length of time, knowing that I’d seen this somewhere before* and that it had some considerable importance – though about what, I knew not! The cups in the design align north-south and east-west. The northern line points directly at Simon’s Seat on the northern skyline. The eastern axis points directly at Almscliffe Crag, above which the equinox sun seems to rise from here.
For the real alignment fanatics, check out the alignment from Twelve Apostles to here: on the date of the last major lunar standstill (occurrent every 18.6 years), the moon set over the cairn at Lanshaw Lad. It wasn’t until I got home and checked the extension of this moonset line, that I realised if you follow it further along the course, you hit the Swastika Stone bang on! Though this is probably just a coincidence (we do have hundreds of cup-and-rings on these moors, so it’s bound to hit one or more of them).
The Swastika in 1930, with explanatory board
In this Swastika Stone, the curious single ‘outlying’ cup-and-ring at the edge of the four spiralling arms is very probably the point from which the four-arms originated and not the other way round. In traditional cultures and early cosmogenic patterns the world over, the cosmos itself emerged from the ’round’, the singular, the point, or uroboros — and this is what this Swastika Stone appears to represent here: the cosmos emerging from the singularity, giving birth to the world and the four cardinal points. Such an element is a simple one and is found in Creation myths the world over. (For those of you who aint into using psychedelics at sites, a good overview of this idea is in Erich Neumann’s Origins & History of Consciousness [although there’s no reference to this symbol] and which should be read by anyone pretending an interest in the nature of the archaic mind. It’s a good work on the psychology of the Dreamtime.)
As some local Ilkley folk are probably aware, a copy of the Swastika Stone carving was executed in the latter-half of the 19th century, probably by a local chap called Ambrose Collins, not far from the original swastika at the edge of the woodland. Some images and a brief history of this copied swastika and associated cup-markings will be published in due course on the Rombalds Moor Project website.
Other important cup-and-ring petroglyphs that are worth visiting on the moor with unique carved symbols in them include the Hanging Stones, the Idol Stone, Haystack Rock, Badger Stone and many many more.
Note:
A fella who used the pseudonym of ‘Pad’ suggests that the carving is only a few centuries old, and compares it to other much more recent etchings on these moors, where the erosion has been of no greater or lesser force. The suggestion has been made about other carvings on these moors and whilst I have an open mind about this, if this is the case, we would have to relate the same reasoning to countless other carving on these hills. In which case, a great deal of cup-and-ring art would have to be redesignated as medieval in nature.
References:
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milverton 2001.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Collyer, Robert & Turner, J. Horsfall, Ilkley, Ancient and Modern, William Walker: Otley 1885.
Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
Hadingham, Evan, Ancient Carvings in Britain, Garnstone: London 1974.
Hedges, John, The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Pennick, Nigel, The Swastika, Bar Hill: Cambridge 1980.
Speight, Harry, Upper Wharfedale, Elliott Stock: London 1900.
Wilson, Thomas, The Swastika – The Earliest Known Symbol and its Migrations, Smithsonian: Washington 1896.
* although I’d never seen the carving before, I had of course seen its archetypal manifestation in the shapes in Nature: spiral galazies, polar rotation (I was a budding astronomer as a kid!), hair growth from the crown, petals, swirling clouds, etc, etc. The Swastika, as we know, is representative of the creative spark itself: the life-essence, emerging from the centre and manifesting itself in the four worlds, which are its emergent arms.
Links:
Reclaim the Swastika – A fine website which is into doing just what it says on the tin!
