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).
Cup-and-Ring Stone (lost): OS Grid Reference – SE 0965 4797
Archaeology & History
In Ronald Morris’ (1989) gazetteer of British petroglyphs, he included this curious entry but gave no real details regarding its appearance or history. Listed by the Royal Commission lads, it would seem to have been located immediately south of the dismantled railway where it used to cross the Addingham-Ilkley road, but no one seems to have seen it either before or since Morris’ description. Any help regarding its whereabouts would be appreciated.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
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.
Cup-and-Ring Stone (lost): OS Grid Reference – NT 269 419
Also Known as:
Kittlegairy Burn
Archaeology & History
Fred Coles’ 1898 sketch
An apparently isolated cup-and-ring stone was found on the hills north of Peebles at the end of the 19th century by the renowned Scottish megalith explorer, Fred Coles. (1899) He was having a look at some of the hillforts in the area and—as some of us tend to do—he began meandering off-track, down streams, through bogs and as a result came across the carving that’s illustrated here. It’s subsequently become “lost” in the hills, but it shouldn’t be too difficult to locate, as the description he gave of its whereabouts is a pretty good one. He told us:
“A very little over one mile and a quarter up the valley, measuring from the road at Kerfield Cottage, a tiny rivulet called Kittlegairy Burn trickles down from the SE into the main stream. On the hill to its east, and about 450 feet higher, are the remains of a fort, one of a series of three crowning prominent heights along this side of the valley. Down the main stream from Kittlegairy Burn is a large ruined sheep-shelter called Soonhope. Nearly midway between these two points a deep curve has been hollowed out of the E. bank; and, at the foot of this rather high gravel bank, half immersed in the stream, lies the block of stone with the cup-and ring-marks. They were discovered, 14th September 1896, by my daughter, Helen, on crossing the stream; and we at once proceeded to make a measured drawing, a reproduction of which is given here…. The depth of the rings in proportion to their width is the one most noticeable feature; next, the extreme thinness of the intervening ‘neck’; but, on a minute and careful examination of the nature of the stone itself, taking into consideration that its angularity and sharpness of edge and the absence of moss or even of confervoid growths on its surfaces went against the possibility of its being truly waterworn.”
The rock had obviously fallen from its original position above the burn. Today, the entire area where this stone exists has been covered by a huge forestry plantation, but if any rock art fanatics from the Peebles area get bored one day and have nothing to do…..
References:
Coles, Fred, “Notices of the Discovery of a Cist and Urns at Juniper Green, and of a Cist at the Cunninghar, Tillicoultry, and of some Undescribed Cup-marked Stones’, in Proceedings Society Antiquaries, Scotland, volume 33, 1899.
Morris, Ronald W.B., “The Cup-and-Ring and Similar Early Sculptures of Scotland; Part 2 – The Rest of Scotland except Kintyre,” in Transactions of the Ancient Monuments Society, volume 16, 1969.
Cup-and-Ring Stone (removed): OS Grid Reference – NT 807 659
Archaeology & History
A carving that no longer exists in its place of origin, but can now be seen in the National Museum of Antiquities in Edinburgh. It was discovered by a Mr James Craw (1931), who gave us the following account of his find:
“In 1910 my attention was attracted by some markings on a boulder on the top of a field wall, ¼-mile NNW of Grant’s House church and at an elevation of some 550 feet above sea level. The stone was a rounded and somewhat flattened slab of greenstone, measuring 22 inches by 17 inches by 4 inches… It bore a small cup ½-inch in diameter, surrounded by two rings of shallow incision, the outer being 3 inches in diameter. From the cup a duct, partly natural, led across the stone, and another cup, without rings, had also a short duct. Adjacent to these markings was a curious grid design of shallow lines, a series of parallel lines ¼-inch apart, being crossed at right angles by lines 2½ inches apart.”
1930 photo of the carving
Across a section of the stone there may also be a curving pecked line which Craw didn’t appear to notice. The parallel lines would appear to have quite separate origins, with those running below the cup-and-ring seeming to be ancient, whereas the others have the appearance of being cut with metal tools and seem much more like modern scarring.
Shortly after finding the stone, Mr Craw took the petroglyph to the National Museum in Edinburgh, where he was told that they didn’t think it “as being of early workmanship, the cups and rings being of much smaller proportions than the typical markings of the Bronze Age and the grid design having no known parallel.” They were wrong on both accounts of course, although I for one still remained unconvinced by one set of parallel lines that run along to the edge of the stone. That said, there are similar carvings of parallel lines at the impressive Traprain Law 15 miles northwest of here, so I may be wrong.
The wall in which this carving was found was obviously not its place of origin. It most likely came from one of the cairns that was reported by J. Hardy to have been destroyed in this field in 1882.
References:
Craw, James H., “An Inscribed Boulder from Grants House,” in History of Berwickshire Naturalists Club, volume 27, 1931.
Edwards, Arthur J.H., “Rock Sculpturings on Traprain Law,” in Proceedings Society of Antiquaries, Scotland, volume 69, 1935.
Morris, Ronald W.B., “The Cup-and-Ring and Similar Early Sculptures of Scotland; Part 2 – The Rest of Scotland except Kintyre,” in Transactions of the Ancient Monuments Society, volume 16, 1969.
Two ways: i) up the A93 road from Blairgowrie, after 5 miles turn right at the Bridge of Cally and up Glen Shee. After another 3½ miles, keep your eyes peeled for the tiny road on the right signposted to the Drumturk Cheese farmshop. Go up this long tiny winding road for a mile up to the cheese place and keep on this road for another 2¼ miles where you can park up near the entrance to the huge wind-farm; or – (ii) from Alyth, go up the long winding tiny Bamff Road and keep to the signposts for Bridge of Cally Glen Shee until, after about 4 miles, you reach the entrance to the windfarm. Walk up the track to the windmills, bearing right at the first junction, then right again at the next one. From here, shortly before the second windmill, walk down into the moor for nearly 200 yards. It’s quite a large stone.
Archaeology & History
Interlocking rings close-up
This is impressive. Very impressive! Found within a huge mass of other prehistoric sites in the Forest of Alyth, its only known petroglyphic bedfellows—Drumderg (1) nearly 500 yards yards south, and Drumderg (3) 120 yards north—have nothing on this one! Where the others have basic cupmarks, this bears a series of multiple interlocking cup-and-ring designs, some with one ring, others with two, and one with four, albeit incomplete rings.
The design is etched onto the sloping face of a curved triangular ‘female’ stone. An eroded cutting all but separates the two main components of the design, but this cut has within it a distinct singular cup-and-ring almost linking each side together. On one side (which is near the middle of the stone) we have a complex series of multiple cup-and-rings that seem to be sequentially moving and (almost) growing into each other in some form of organic pattern. The bottom of this growth begins from a standard cup-and-ring and runs immediately into a vulva-like slit of a cup-mark surrounded by four incomplete rings. As the photos show, this keeps climbing upwards.
Cupmarks on its W-sideLooking into the setting sun
A more simplistic basic design has been etched onto the more western side of the stone, on the other side of the eroded cutting. Two of the cup-marks have rings around them, with one of them seeming to give birth to another upward “growth”, but this time comprising merely of a line of more cups, curving ever-so-gently towards the middle of the stone. Along with this there are also cup-marks on the top ridge of the stone; faint carved lines curve and intersect. Movement seems embedded in this fixed non-linear design. That’s my impression anyhow!
The only literary attention given to the carving seems to have been by the Scottish Royal Commission (1990) lads in one of their Perthshire inventories. It’s simple as always, telling basically,
“this heavily weathered cup-and-ring marked boulder lies 150m south of the hut circles… The carvings are on the southwest face of the boulder and comprise: at least four cups surrounded by single rings; two cups surrounded by triple rings; an oval cup measuring 100mm by 70mm surrounded by four rings; and twenty-two plain cups marks, the largest 60mm in diameter.”
If there’s anything extra that we should puzzle over, it’s this: why do we have such an intricate carving here, living in near isolation in the midst of countless other prehistoric remains? The answer, most likely, is that it’s not alone. I highly suspect that others are waiting to be found up here beneath the endless ocean of heather…
References:
Royal Commission on the Ancient & Historical Monuments of Scotland, North-East Perth: An Archaeological Landscape, HMSO: Edinburgh 1990.
In 1863, a bunch of reputable Victorian authors and antiquarians met with the Duke of Northumberland in Alnwick Castle to discuss the matter of making decent images of the petroglyphs which, at the time, had only just been rediscovered in the area. At one of their meetings, the floor in one of the Castle rooms was covered with rubbings of carvings that they’d made—this one included. I’d loved to have been there! Subsequently, from this meeting, sketches of this carving were done and included in the works by George Tate (1864; 1865) and then a few years later in J. Collingwood Bruce’s (1869) rare tome that had been published with the help of dosh from the Duke.
Found along a raised geological ridge running roughly east-west, a number of other carvings are close by and well worth looking at when you visit here. The basic (and first) description of the site by Tate told that here,
Tate’s 1864 sketchJ.C. Bruce’s 1869 image
“on a high ridge on Hunter’s Moor, a large surface of rock, some forty yards by twenty, having a gentle slope to the northward, is partially uncovered. In one part, which has been entirely cleared of turf, fourteen figures are scattered over an area of 15 feet by about from 5 to 7 feet. Some of the figures are of the common type, one of which is 28 inches in diameter; but others present new features; and several are curiously united by straight and curved grooves. Across the entire diameter of a group of four concentric circles, runs a groove connecting them with other combined figures. An irregularly shaped, rounded, angular figure, encloses two hollows or cups; and united to this is a broad oval figure. One figure around four cups approaches to the reniform.”
When the modern rock art expert Stan Beckensall wrote about this site, he mentioned how his own picture of the carving consisted of a number of elements that weren’t included by the 19th century pioneers—which isn’t unusual.
References:
Beckensall, Stan, Northumberland’s Prehistoric Rock Carvings – A Mystery Explained, Pendulum: Rothbury 1983.
Beckensall, Stan, Prehistoric Rock Motifs of Northumberland – volume 1, Abbey Press: Hexham 1991.
Bruce, John Collingwood, Incised Markings on Stone; found in the County of Northumberland, Argylshire, and other Places, privately printed: London 1869.
Tate, George, “The Ancient British Sculptured Rocks of Northumberland and the Eastern Borders,” in Proceedings of the Berwickshire Naturalists Club, volume 5, 1864.
Tate, George, The Ancient British Sculptured Rocks of Northumberland and the Eastern Borders, Henry Hunter Blair 1865.
Cup-Marked Stone (lost): OS Grid Reference – SO 1491 0045
Archaeology & History
Sometime in the 1940s, a certain Lady A. Fox recorded a cup-marked stone “in the vicinity of Pen-twyn” near Bargoed. Its position in the landscape is a good one: on a geological promontory and overlooking the valley below. The find was indexed by the Ordnance Survey, but apart from it’s grid-reference, all attempts to locate the design have so far proved unsuccessful.
It was mentioned briefly in the Royal Commission (1976) survey of Glamorgan, then subsequently listed in the surveys of Sharkey (2004) and Nash (2007), but none of them were able to locate it. And hence, I post it here, in the hope that some local hunter will be able to recover it from its hiding place!
References:
Mazel, A., Nash, G. & Waddington, C. (eds.), Art as Metaphor: The Prehistoric Rock Art of Britain, ArchaeoPress: Oxford 2007.
Nash, George, “A Scattering of Images: the Rock Art of Southern Britain,” in Art as Metaphor, ArchaeoPress: Oxford 2007.
Royal Commission on the Ancient & Historical Monuments, Wales, An Inventory of the Ancient Monuments in Glamorgan – Volume 1: Pre-Norman, Part 1: The Stone and Bronze Ages, HMSO: Cardiff 1976.
Sharkey, John, The Meeting of the Tracks: Rock Art in Ancient Wales, Gwasg Carreg Gwalch: Llanrwst 2004.
An interesting new cup-marked stone found by Paul Blades is this smooth rounded (female) stone that may originally have had some relationship with the tall standing stone of Careg Bica 160 yards to the south. Around ten cup-marks are etched onto its surface, in a seemingly random arrangement (as usual!). Although it seems to be an isolated carving, it’s likely that others will exist in the area.
Carving & outlying monolithCareg Bica petroglyph
The direction and proximity of the standing stone may have had some relationship with the carving. In traditional northern hemisphere societies, the cardinal direction North is generally associated with darkness and death, primarily due to the fact that this is the area in the heavens where neither sun or moon ever appear; whilst South relates to life and positive natural associations due to it being the high point of the sun during the day. This animistic attribute existed till recently in the water-lore of northern England and Scotland where “south-running streams bore a high repute.” Whilst such mythic attributes are well established, any cardinal relationship here is purely speculative.
Acknowledgements: Huge thanks to Paul Blades for use of his photos in this site profile – and of course for finding the stone!
Follow the directions to reach the Ancestors’ Stone and the Sunrise Stone; and there, roughly halfway between them, right by the edge of the old collapsed walling, you’ll see this rise of a stone with a large ‘bowl’ on top. That’s it!
Archaeology & History
Mixing Stone, looking E
Laid upon the same geological ridge as our Ancestors’ and Sunrise carvings, there are one, possibly two faint cup-marks visible on the low flat surface near the edge of this rock, barely visible unless the light’s right. But the important element here, perhaps regardless of the cup-marks, is the ‘bowl’ or rock basin on top of the stone. Internally, it’s smoothed equally on all sides and, due to being in-between the two impressive petroglyphs, may well have had a practical function to it. Bear with me on this one…
The Mixing Stone’s bowl
Stone ‘bowls’ or cavities—natural and otherwise—have been made use of in many cultures for simple functional purposes, such as grinding flour, herbal mixes, etc. We find such traditions in some of the bullauns of Ireland and Scotland; whereas in similar stone bowls known as cat troughs in nearby Haworth, milk was poured to appease the spirits of the land (this tradition was still being maintained in 2001!). Folklore and traditions of such rock basins spread far and wide beyond the UK: one of the German terms for rock basins is Opferkessel, meaning ‘sacrificial basin’ and suggests ritualistic usage by early societies. Elsewhere on Earth there are numerous accounts of the ritual use of petroglyphs in which indigenous peoples tell of their use of plant- or rock-based paints (in many cases red ochre) to decorate the carvings. And it’s this element that I’m interested in here.
Water-painted cupmarks
The Sunrise and Ancestors’ Stones 10-15 yards either side of this Mixing Stone are ideal candidates for such petroglyphic paintings using early ochre and other stone or plant-based agents. Such activities would always have been ritualised, either in honour of ancestors, genius loci, calendrical rites, or whatever the pertinent ingredient was at that place and time. I’m suggesting simply that the rock basin on the Mixing Stone was used for just such purposes. This is no spurious suggestion, but at the same time it’s important to recognise that my thoughts here represent merely an idea, nothing more—not a fact. Whilst we know full well that these carvings were imbued fundamentally with animistic properties—a simple ‘fact’—this functional idea is just that—an idea. Students and petroglyph-nuts need to understand this. And the faded cup-marks at its edge are perhaps merely incidental…. though I don’t buy that misself!
