Follow the same directions as to reach the so-called Smiley Stone carving and look just 10 yards SE.
Archaeology & History
About 10 yards away from the Smiley Stone is another of Middleton Moor’s ‘dubious carvings’ to me. I remember seeing the drawing of this years back, perhaps a decade after Stuart Feather first described it (1966) and remember thinking it looked a bloody good carving. But when I saw it for the first time in February 2005 with Richard Stroud, not only could I hardly see what was supposed to be there, but once I’d seen the alleged design, some doubt came over me regarding its archaic nature. That doubt still remains.
Faint cups & linesDesign on carving 447
There certainly seems to be a few faded cup-marks on the stone — which looks to be broken from a larger, circular worked stone of a much more modern age (an old mill stone perhaps?) — but the lines which both Feather and the grand pair of Boughey & Vickerman (2003) copy into their survey, are all too vague and certainly not ancient in my book. Perhaps some local folk were still etching cup-marks and lines onto stones into the medieval period and later, like the ones found on the Churn Milk Joan monolith near Hebden Bridge…
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Feather, Stuart, “Mid-Wharfedale Cup-and-Ring Markings, no.47: Middleton Moor, Ilkley,” in Cartwright Hall Archaeology Gorup Bulletin, 11:9, 1966.
From the village of Midgley, high above the A646 Halifax-to-Todmorden road, travel west along the moorland road until you reach the sharp-ish bend in the road, with steep wooded waterfall to your left and the track up to the disused quarry of Foster Clough. Go up the Foster Clough track for 100 yards and, when you reach the gate in front of you, go over it but follow the line of the straight walling uphill by the stream-side (instead of following the path up the quarries) all the way to the top. Here you’ll see the boundary stone of Churn Milk Joan.
Archaeology & History
The present large standing stone you see before you isn’t prehistoric. However, the small broken piece on the ground by its side may have been its prehistoric predecessor; and there is certainly something of an archaic nature here — albeit a contentious one — as we find old cup-markings cut into its eastern face.
Two ‘cup-marks’ on eastern face
The upright is roughly squared and faces the cardinal points. It was described in Mr Heginbottom’s (1977) unpublished survey on Calderdale rock art, where he described there being a few cup-markings inscribed on its east- and south-facing edges, some of which may be prehistoric — though they would obviously have had to have been carved upon the upright stone when it still lay earth-fast. However, we must posit the the notion (unless some of you have better ideas) that the tradition of etching cup-marks onto rocks was still occurring in this part of Yorkshire until the late Middle Ages, as this stone was, as we know from boundary records, only placed upright to mark the meeting of the three boundaries of Wadsworth, Hebden Royd and Sowerby.
Churn Milk Joan’s other name, Saville’s Low, originates from the great Saville family who owned great tracts of land across the region in the fourteenth century, possibly when the Churn Milk Joan we see today was created. The word “lowe” may derive from the old word meaning, “moot or gathering place,” which this great stone probably served as due to its siting at the junction of the three townships.*
Folklore
In modern times the stone has become a focus for a number of local pagans and New Agers who visit and ‘use’ the site in their respective ways at certain times of the day, albeit estranged (ego-bound) from the original mythic nature of the site.
The name of the stone comes from an old legend about a milk-maid named Joan who, whilst carrying milk across the moors between Luddenden and Pecket Well, got caught in a blizzard and froze to death. When her body was found many days later, the stone we see here today was erected to commemorate the spot where she died. Although such a scenario is quite likely on these hills, as Andy Roberts (1992) said,
“Considering the sheer amount of sites with similar legends this explanation is unlikely to be true and we should looker deeper for the meaning behind Churn Milk Joan, to be found in its positioning in the landscape and ourindividual feelings about it.” [see profiles for the Two Lads and the Lad o’ Crow Hill sites)
The monolith’s other title, Churnmilk Peg, is the name given to an old hag who is said to be the guardian of nut thickets. How this female sprite came to find her abode upon these high hills is somewhat of an enigma, but it was first stated as such in an article by Andy Roberts (1989) in “Northern Earth Mysteries” magazine. E.M. Wright (1913) noted this supernatural creature in her work on folk dialect, describing it as a West Yorkshire elemental who, along with another one known as Melsh Dick:
“are wood-demons supposed to protect soft, unripe nuts from being gathered by naughty children, the former being wont to beguile her leisure by smoking a pipe.”
Another legend of the stone tells how it is said to spin round three times on New Year’s Eve when it hears the sound of the midnight bells at St. Michael’s church (St. Michael was a dragon-slayer) at Mytholmroyd in the valley below. Another piece of folklore tells that coins used to be left in a small hollow at the very top of the stone which, according to Haslem (1981), was “a gift to the spirit world, to bring luck” – a common folk motif. It may equally originate from the custom of it as a plague stone. This tradition of leaving coins atop of the stone is still perpetuated by some local folk.
Mr Haslem also made some interesting remarks about the nature of Churn Milk Joan standing as a boundary stone, representing something which stands not just as a physical boundary, but as a boundary point between this and the Other- or spirit world. In folklore, streams and rivers commonly carry this theme. But here on Midgley Moor, as a standing stone at the junction of three boundaries, we may be looking at the place as an omphalos: a centre point from which the manifold worlds unfold. (see Almscliffe Crags, the Ashlar Chair and the Hitching Stone)
The other motif here, of milk and snow [both white], have been speculated to represent power of the sun at midwinter, and geomantically we find the position of the stone in the landscape exemplifying this: it stands midway in the moorland scenery facing south, the direction of solar power, yet is bounded as an equinox marker from east and west. The winter tales it has nestled around it are merely complementary occult augurs of its more wholesome elements at this point in the hills.
There is however, another much more potent element that has not been conveyed about the site and its folklore—and one which has more authenticity and primary animistic quality. Regardless of ‘Joan’ or ‘Peg’ being the elemental preserved in the landscape title, the ‘churning’ in its name and the ‘spinning’ of the stone in myth at the end of one year and the start of the next at New Year, are folk memories of traditional creation myths that speak of the cyclical seasons endlessly perpetuated year after year after year, in what Mircea Eliade (1954) called the ‘myth of the eternal return.’ As season follows season in the folk myths of our ancestors, everything related to the natural world: a world inhabited (as it still is) by feelings and intuitions learned from an endless daily encounter, outdoors, with the streams, hills, gales, snow and fires. Their entire cosmology, as with aboriginal people the world over, saw the cycles of the year as integral parts of their daily lives. Here, at Churn Milk Joan with its central landscape position along an ancient boundary, the churning and turning of the year was commemorated and mythologized year after year after year; with maybe even the Milky Way being part of the ‘milk’ in its title, from which, in the shamanistic worlds that were integral to earlier society, the gods themselves emerged and came down to Earth.
References:
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milverton 2001.
Eliade, Mircea, The Myth of the Eternal Return, Bollingen 1954.
Haslem, Michael, “Churn Milk Joan: A Boundary Stone on Midgley Moor,” in Wood and Water, 1:8, 1980.
Heginbottom, J.A., “The Prehistoric Rock Art of Upper Calderdale and the Surrounding Area,” Yorkshire Archaeology Society 1977.
Ogden, J.H., “A Moorland Township: Wadsworth in Ancient Times,” Proceedings of the Halifax Antiquarian Society, 1904.
Robert, Andy, “Our Last Meeting,” in NEM 37, 1989.
Robert, Andy, Ghosts and Legends of Yorkshire, Jarrold: Sheffield 1992.
Wright, Elizabeth Mary, Rustic Speech and Folk-Lore, Oxford University Press 1913.
* The great stone at the cente of the Great Skirtful of Stones, Burley Moor, which previously stood at the centre of the Grubstones Circle, was just such a moot stone. Upon it is carved the words “This is Rumble’s Lawe”.
Pretty simple this one. From Chipping Norton, head west on the A44 for a coupla miles till you hit the lovely Salford village. The church stands out, so head for it and, as you walk towards the building, watch for the small stone cross in front of you.
Archaeology & History
Salford Cross cup-markings
This is curious. Very curious! We might expect to find cup-markings occasionally on some of the cross-bases or other early christian monuments in northern England and Scotland, but to find them in the heart of a small Oxfordshire village where the tradition of cup-marked stones is unknown, was something of a surprise when Tom Wilson and I (1999) found it, to say the least! But this is what we’re looking at here.
Salford Cross remains
On the remains of an old medieval cross, whose broken shaft has seen better days, as the photo shows — and as a personal viewing shows even clearer — there are 3 simple cup-markings etched on one side of the cross-base in Salford churchyard. The cups certainly aint natural, but then also they don’t have the archaic looks of the prehistoric carvings from Yorkshire to Scotland. It would be good if we had a more extensive history of the cross monument itself, perhaps saying precisely where the stones which make it up came from, but local records tell us nothing it seems. If we could ascertain that parts of it were made up of some remains taken from some local prehistoric ‘pagan’ tomb (and a number of tombs have been found in and around this area), then some sense could be thrown upon its position here. But until we can ascertain more about the history of the cross, the three clear cup-markings on the cross-base remain somewhat of a mystery.
Folklore
Lovers of ley lore will be intrigued to find this carved cross-base is on a very accurate ley linking the King Stone, Rollright stone circle, Little Rollright church (where a standing stone can be found in the walling just before it), the Salford Cross and the site of another cross on the hill outside the village.
References:
Bennett, Paul & Wilson, Tom, The Old Stones of Rollright and District, Cockley: London 1999.
Go over Ilkley Bridge and take your first left, on & over the roundabout, then follow the road as it bends uphill. Keep going until you reach the fields and moors either side of you, up Hardings Lane, stopping at the bend in the land where it meets a couple of dirt-tracks. Go up the track onto the moor and follow this right into the moorland (avoiding the path to your right after a few hundred yards) where it follows the edge of the walling again. After a few hundred yards there’s a gate on your right. Go thru this and, after 40-50 yards, walk up into the heather. You’re damn close!
Carving no.484
Archaeology & History
This is another cup-marked stone that’ll only be of interest to the petroglyphic purists amongst you, as it’s another one of those incredibly interesting single cup-marked rocks — this time with an additional single line running from it! WOWWWW….! The photo here just about does it justice, as in some light conditions you wouldn’t even notice it. There’s also the possibility that this ‘carving’ was actually Nature’s handiwork.
It was first described by our old mate Stuart Feather in 1965, and was then included in Boughey & Vickerman’s (2003) survey as stone 484, describing it as, “medium-sized, approximately square rock of fairly smooth grit. One cup with groove leading from it.”
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Feather, Stuart, “Mid-Wharfedale Cup-and-Ring Markings: Nos. 36, 37 and 38, Middleton Moor, Ilkley,” in Cartwright Hall Archaeology Group Bulletin, volume 10, 1965.
ACKNOWLEDGEMENTS: to Richard Stroud for use of his photo
Stuck in the middle of the moor, at the bottom (southern) side of the Lippersley Ridge promontory. Head towards it from the Askwith Moor Road, along the track past Sourby Farm and onto the end. Then walk along the easy footpath which that takes you below the southern side of the ridge and, about 100 yards before getting to the end of the rise, look around in the heather. You’ll find it.
Archaeology & History
Graeme Chappell’s early photo of Lippersley Pike stone
Graeme Chappell rediscovered this seemingly isolated cup-marked stone during one of our many exploratory ambles upon these moors in the early 1990s. The carving is a pretty simple one, consisting of between 10 and 12 cupmarks on the upper surface of a reasonably large elongated stone. No discernible rings or other lines seem to be visible. There are no other cup-and-ring stones close by; but two small prehistoric cairns can be found along the same sloping ridge east and west of here when the heather is low, and the larger Lippersley Pike Cairn stands out on the western end of the ridge 450 yards away. A more detailed exploration of this part of the moor may bring other previously unknown findings to light.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
This lovely-looking 5-foot tall standing stone, marking an old boundary line in the Muasdale parish, is a curious one with elongated cups, some of which have the appearance of natural beach-side erosion caused by molluscs — unlikely though it may be. It first appears to have been described in an early PSAS article by Duncan Colville (1930), who told us:
“The writer was informed by the Rev. D.J. MacDonald, the minister of the parish, of the existence of this cup-marked stone forming a gatepost in the boundary wall between the arable and hill ground on the farm of Gaigean. The gate referred to is situated on the top of a steep bank on the south side of a small stream, a short distance uphill to the east of the farm steading of Gaigean. The front of a stone is now set an angle of about 45° to the ground facing almost southwest (105° magnetic across the face). Underneath the stone is another boulder similar in size, with several smaller stones wedged between the two, thus preventing further inspection.”
The North Beachmore stone
Some years later when the Scottish Royal Commission (1971) lads described the site in their Kintyre survey (monument no.97), they gave a more detailed description of the cup-and-rings, saying:
“The markings consist largely of plain cups, but one cup is accompanied by a partial single ring which measures 0.11m across. At the foot of the lower half of the stone four cups linked by broad gutters form a curious branched pattern, and a similar combination of three cups and gutters occurs in the upper half, while in two other instances a pair of cups are joined by a short straight channel to form a dumb-bell figure. The remainder of the markings comprise twelve oblong or kidney-shaped hollows measuring up to 0.15m in length by 0.064m in breadth, and thirty-one plain cups ranging from 0.038m to 0.076m in diameter, the largest being 0.019m deep.”
References:
Colville, Duncan, “Notes on the Standing Stones of Kintyre” in Proceedings of the Society of Antiquaries, Scotland, volume 64, 1929-30.
Royal Commission on the Ancient & Historical Monuments of Scotland, Argyll – volume 1: Kintyre, HMSO: Edinburgh 1971.
Cup-and-Ring Stone: OS Grid Reference – NC 635 384
Archaeology & History
This small cup-marked stone came to light following the work of Mr Angus MacKay of Sutherland, more than 100 years ago. In his essay in the Scottish Antiquaries journal (1905), he wrote the following:
Grumbeg carving
“A cup-marked stone was found by me in the burial place of Grumbeg, Strathnaver, September 1905, standing upright at the head of a grave, and showing about 6 inches above the ground. It is evidently a fragment of a larger slab: its extreme length is 20 inches, and it is about 15 inches at its broadest part. The upper three circles are 2.5 inches in diameter and 1.5 inches deep, very symmetrically hollowed out, but the fourth and lower circle is shallow and indistinct. As the stones covering the other graves are for the most part what is called rough mountain slabs, it seems to me that this cup-marked fragment was found in its present condition elsewhere, and placed here to conveniently show a lair.”
If such was the case, a good contender might be the denuded chambered cairn close by.
Cup-and-Ring Stone: OS Grid Reference – NT 251 696
Archaeology & History
Braid Hills carving
This is a fine-looking old cup-and-ring stone! Although no longer in situ (one of those really important golf courses needed to be built, so it had to go!), the 3 or 4 cup-and-rings seen here, carved at the end of what look like some sort of ‘stalks’, emerging from a distinctive radial under-curve, gave me a somewhat anthropomorphic impression of chaps in a boat — perhaps sailing into the Firth o’ Forth a short distance away! The Scottish Royal Commission (1929) report said the following of the stone:
“In 1897 a boulder of white sandstone with cup-and-ring markings on its surface was discovered on the Braid Hills golf course, and it was later presented to the National Museum of Antiquities. The stone measures almost 3 feet by 1 foot 9 inches, by 1 foot thick and is roughly oblong. The markings comprise seven cups in all, and at least three of these are completely surrounded by a ring and cut by a radial channel.”
Although nothing was said in the RCAHMS account, the stone gives one the impression it was associated with a tomb. And I know it aint the same, but when I first saw this carving, it reminded me of the Ri Cruin carving in Kilmartin, Argyll. It’s the potential “boat” feature that did it for me!
References:
Royal Commission on the Ancient & Historical Monuments of Scotland, Inventory of Monuments and Constructions in the Counties of Midlothianand West Lothian, HMSO: Edinburgh 1929.
It is best approached from the track at the side of Weecher reservoir (site of the destroyed Weecher stone circle) on the east side of Rombalds Moor, where you should follow the natural curve of the track till you reach the tiny hamlet of Faweather where, on your right, just in the garden edge, you’ll see this faded old carving. This has only recently been incorporated into the garden (it used to sit on a small triangle of grass where three old tracks meet), but the people living here seem pleasant enough and will let you look at the carving if you ask.
Archaeology & History
Hedges 1986 drawing
Just off the far-eastern edge of Rombald’s Moor and north of Baildon Moor, this faded cup-marked stone might only be for the real fanatics amongst you! I like it though. Described in Sidney Jackson’s rare Bradford archaeology journal, the site was added to Hedges (1986) survey, and the subsequent Boughey & Vickerman’s (2003) work, neither of whom said much about it. It’s a pretty basic carving though, consisting of several cups and lines that run over the top of the stone, some of which seems to be due to natural weathering — it’s hard to say for sure.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, West Yorkshire Archaeology Service 2003.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, West Yorkshire Metropolitan County Council: Wakefield 1986.
Take the road from Ilkley town centre up towards the White Wells and keep following it along until it curves up and onto the moor itself and becomes a rocky dirt-track. Go up here, past the old quarries (left) until you hit the footpath which runs east (left) onto the flat level of the moorland. Follow this footpath along for literally half-a-mile, where a footpath runs up onto the tops of the moorland. Go up here for 100 yards and you’ll see a small standing stone by the right-hand side of the footpath; on the left, into the moorland about 20 yards away, this carving is to be found!
Archaeology & History
This is an excellent, archetypal cup-and-ring stone carving and is in a very good state of preservation. Found just a few yards away from the aptly-named Pitchfork Stone, the carving here on a large single stone mainly comprises of a double cup-and-ring. A couple of other possible outlying cup-marks can be seen: one just below the double-ring, and the other towards the top-end of the rock. It was first reported by Stuart Feather in the Bradford Archaeology Group’s journal in 1961, then listed in the surveys of Hedges (1986) and his followers.
Carving 257, looking NE
When Michala Potts, Dave Hazell and I we visited this carving the other day, some halfwit had been up here in the not-too-distant past and, as with some of the carvings on the moors north of Ilkley, had daubed some paint or oily resin onto the carvings themselves to specifically highlight aspects of the carved rock (not one part of the uncarved stone had anything on it). We aint quite sure exactly what the substance is that’s been daubed onto the carvings (it aint ordinary paint), but seems like an oil or industrial substance. And, whoever’s done this, obviously seems to have some knowledge of the rock art they’re painting over: they certainly have good grid-references and enjoy walking the hills. This aint just some idiot/s into vandalizing the carvings for the sake of it, nor the whim of some airy-fairy New-Ager. Whoever’s done this (and it’s been done on other cup-and-rings around this locale) have deliberately set out to locate and paint over specific carvings — a number of them off-path — with the intention it would seem to highlight them for photographic enhancement. So — whichever retard has done this, might I suggest that you keep your industrial waste where it belongs: either in your own house, or preferably up your mother’s arse, where you obviously first emerged from. If anyone knows who is doing this to the carvings round here, please email me (anonymously if necessary) with all relevant info. Any such communications regarding this matter will be kept strictly confidential.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John, The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
