From Askwith village go up the Moor Lane and at the crossroads go straight across (Snowden Moor is across left). Go down and along Snowden Carr Road until the road levels out and, watch carefully, about 500 yards on from the crossroads on your left you’ll see a small crag of rocks in the fields above. Stop and go through the gate walking up the field and as you near the top you’ll see a gate across to your left that leads onto the moor. Go through this and on the path which veers up to the right up to the Tree of Life Stone. About 20 yards along, keep your eyes peeled just off-path, to the left, where a small rounded stone hides at the edge.
Archaeology & History
This was one of a number of cup-markings that Graeme Chappell and I came across in the early 1990s, though it didn’t receive any literary attention until included in Boughey & Vickerman’s (2003) survey. It’s only a small fella, consisting of just six or seven cups on its upper rounded surface — though what may be a carved line runs round the southern side of the stone. It seems to have been associated with a small cairn close by (a common feature on these moors) and adjacent prehistoric settlement walling. In Boughey & Vickerman’s text, they gave the following notes:
“Small rock with rounded surface at ground level, near scattered cairn. Seven or eight cups, possible grooves at edge.”
Drawing of the stone (Boughey & Vickerman)
[You’ll notice in the photo above that the local phantom painter had been here again, artistically highlighting the cup-marks. The photos we took were done earlier this year, when the paint (or whatever it is) was first noted. It had not been painted-in the previous autumn. But most notably is the fact that this carved stone has never previously appeared on the internet (until today) and the only other reference to it is in the standard Boughey & Vickerman text. This would indicate that whoever it is that’s painting the carvings up and down mid-Wharfedale possesses a copy of that text, aswell as being relatively new to the subject of rock art.]
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
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.
Follow the same directions to reach the superb Badger Stone carving, and from here take the footpath that runs downhill. You’ll cross another footpath about 100 yards down the moor, but just keep walking down the path and you’ll notice the small copse of woods ahead of you. As the footpath begins to swerve roughly away, northeast, heading away from the said woodland, keep your eyes peeled on your left for a reasonably large but flattish rock close to the ground (in summer it’s surrounded by bracken) about 75 yards away. That’s your target!
Archaeology & History
Of the hundreds of cup-and-ring stones on Ilkley Moor and district, this is one of my personal favourites! I first visited the stone in 1977 as a young teenager and was mightily impressed by the unusual nature of the design here — and that impression still remains. Aswell as possessing the usual cups and rings, the Barmishaw Stone is one of just a few rocks also possessing a sort of ‘ladder’ design or linear pattern within the overall carving: an insignia echoed on the nearby Willie Hall Wood carving, the Piper Stone, and also on the Panorama Stones. As with the ‘ladders’ on the Panorama carving, those found here at Barmishaw are very eroded and are increasingly difficult to see during the daytime (the best time to notice them is usually around sunrise or sunset, and particularly when the rock itself is wet).
The carving has been described many times, albeit briefly, by a number of writers. In John Hedges (1986) fine survey he said the following:
“Medium sized flat-topped rock…fairly smooth grit, sloping slightly east to west, covered with carvings, some of which are very worn. Slanting sunshine needed to detect them. About twenty-four cups, at least nine with rings or incomplete rings, two with multiple grooves half round and continuing straight down, one of them incorporating ‘ladder.’ Five other ‘ladders’ – in a good light. Cups mostly deep and clear.” A few years later, Boughey & Vickerman (2003) echoed much of Mr Hedges description, though noted that of the 24 cups with their rings, one possessed a triple ring.
Alan Davies’ illustration
Like so many cup-and-ring stones, they have given rise to hosts of fascinating theories and ideas — one of which is based on mathematics and metrology. In the 1980s, Alan Davies (1983, 1988) surveyed the Barmishaw Stone — and other carvings on Ilkley Moor — to explore the possibility that the cups and rings were laid out according to a basic unit of measure, the Megalithic Inch (MI), as proposed by Alexander Thom some years earlier. Although Davies’ work showed that such a primary unit of measure wasn’t to be found universally, his research at the Barmishaw Stone indicated “significant evidence for quanta of…3 MI,” although this occurred “when the analysis is restricted to only ringed cups.” Despite this, Davies thought that the existence of the Megalithic Inch was evident in this and other carvings on the moors, stating that:
“The repeated emergence of the significance of ringed cups, and the fact that all putative quanta seem to bear a simple numeric relation to each other do not seem to be coincidental.”
However, the selectivity of data in Davies’ research would indicate more that any Megalithic Inches isolated in the metrology of the carvings was due, not simply to chance, but more that the implements used to carve the rocks and the size of the hands of the people doing the carvings was pretty uniform. These simplistic factors need assessing. In modern trials carving cup-markings, we find them to be of similar size to those carved in prehistoric times, as would be expected.
Barmishaw Stone (after Hedges, 1986)Barmishaw stone (Cowling 1946)
The ladder motif central to this carving may have related to early religious and ritual events here. Across the world, indigenous cultures commonly relate the ‘ladder’ to be a symbol of ascension, both by shamans, mystics and during rites of passage. The symbol represents the journey of the soul to and from supernatural realms. To discount this possibility at the Barmishaw Stone would be shortsighted.
The carving was very probably painted when our neolithic ancestors gathered here, much as Australian aborigines still do to their carvings using lichens and other plant dyes, with the respective ladders and lines changing colour where movements between worlds or shifts of attendant spirit occurred. By virtue of the its very name, I consider this rock to have been considerably important; the “ghost” aspect to barmishaw being a typically misconstrued aspect of ‘spirit’.
Folklore
This excellent cup-and-ring marked stone probably derives its name from the old dialect words “barm i’ t’ shaw”, meaning “ghost in the wood” stone. Whatever guise the attendant spirit of this rock may have had has long since been forgotten; though spectral accounts from the beginning of the nineteenth century until modern times may give us clues. There have been several reports of green-coloured elemental creatures around the area between here and the White Wells sacred spring a short distance to the east. The most recent account, from 1987, took on the modern mythic form of a little green man from space, with attendant UFO to boot! The Barmishaw Hole nearby was a place where faerie-folk used to live. Excesses of geological faulting and water makes the magickal nature of this place particularly potent.
References:
Allen, J. Romilly, “The Prehistoric Rock Sculptures of Ilkley,” in Journal of the British Archaeological Association, volume 35, 1879.
Allen, J. Romilly, “Notice of Sculptured Rocks near Ilkley,” in Journal of the British Archaeological Association, volume 38, 1882.
Bennett, Paul, “Cup-and-Ring Art”, in Towards 2012, volume 4, pp.83-92, 1998.
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.
Cowling, E.T., ‘A Classification of West Yorkshire Cup and Ring Stones,’ in Yorkshire Archaeological Journal 1940.
Cowling, E.T., Rombald’s Way: A Prehistory of Mid-Wharfedale, William Walker: Otley 1946.
Davis, Alan, ‘The Metrology of Cup & Ring Carvings near Ilkley in Yorkshire,’ Science Journal 25, 1983.
Davies, Alan, ‘The Metrology of Cup and Ring Carvings,’ in Ruggles, C., Records in Stone, Cambridge University Press 1988.
Eliade, Mircea, Patterns in Comparative Religion, Sheed & Ward: London 1958.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Wright, Joseph, The English Dialect Dictionary – volume 1, Henry Frowde: Oxford 1905.
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.
Another stone for the rock art purists amongst us: a singular cup-marking near the edge of the rock. Although the photo here seems to show three cup-markings close to each other, only one of the three is in fact real. The other two are simple geological creations. But this fact seemed to go over the heads of some English Heritage archaeologists who reported to Boughey & Vickerman (2003) that this was a stone “with three cup markings” on it. I’m not sure who trains EH rock-art enthusiasts, but they seem to have a tendency to mistake natural features with artificial cup-markings and their evaluations should be treated with considerable caution (you’ve gotta wonder who the students are that are teaching them).
The rock itself is found in close association with other prehistoric remains and may have been a part of enclosure walling. Very close by are numerous well-preserved settlement remains, cairns and other cup-and-ring stones.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
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.
