Tag: prehistoric rock art

Bryn Celli Ddu, Llandaniel Fab, Anglesey

megalithix

Chambered Cairn:  OS Grid Reference – SH 50761 70185

Also known as:

  1. Bryncelli Ddu
Bryn Celli Dhu in 1847

Archaeology & History

An excellent passage grave tomb that’s been described by many historians over the last two hundred years, and was subject to a fine excavation in the first half of the 20th century.  Ascribed as neolithic in origin, recent finds of human activity on the edge of the surrounding henge indicates people have been “up to things” hereby since at least 6000 BC.  Deriving its name from “the mound of the black grove,” the site as we see it today has been much restored and is so different to when it was visited by Thomas Pennant and other antiquarians.

According to an anonymously written essay in Archaeologia Cambrensis in 1847, the site was first described by Henry Rowlands (1723) where, in relation to another site, he told were,

“the remains of two carnedds, within a few paces of one another: the one is somewhat broken and pitted into on one side, where the stones had been carried away; the other having had its stones almost all taken away into walls and hedges, with two standing columns erected between them.”

A somewhat more detailed description came from Thomas Pennant a few years later.  He wrote:

“A few years ago, beneath a carnedd similar to that at Tregarnedd, was discovered, on a farm called Bryn-celli-ddu…a passage three feet wide, four feet two or three inches high and about nineteen feet and a half long, which led into a room about three feet in diameter and seven in height.  The form was an irregular hexagon, and the sides composed of six rude slabs, one of which measured in its diagonal eight feet nine inches.  In the middle was an artless pillar of stone, four feet eight inches in circumference.  This supports the roof, which consists of one great stone near ten feet in diameter.  Along the sides of the room was, if I may be allowed the expression, a stone bench, on which were found human bones, which fell to dust almost at a touch: it is probable that the bodies were placed on the bench… The diameter of the incumbent carnedd is from ninety to a hundred feet.”

Ground-plan

But the main excavation work at Bryn Celli Ddu was done in the late-1920s by W.J. Hemp (1930) and his team, who, as usual following such digs, ended up with just as many questions about the site as they had answers!  One of the best descriptions of Hemp’s excavation work was by W.F. Grimes (1932) in an essay he wrote for the East Anglian Prehistoric Society where he gave the following detailed description of the finds:

“The cairn here was circular, with a chamber of some 160ft and an original maximum height of at least 12ft.  The chamber is a polygonal structure of large stones augmented…with dry-stone walling, entered on the northeast side by a long passage built in the same way.  Many of the stones had been dressed and in the chamber stood a single pillar which had been artificially rounded and smoothed, but which had never actually supported the capstone.

“These features had been more or less apparent for many years.  But the reparation work soon showed that this was by no means all.  In the first place, it was found that the chamber had been surrounded by four circles of standing stones.  The first of these, around the outside of the mound at its base, had disappeared, although early accounts and a single hole found in the course of the work of excavation, are evidence of its existence.  The second and third circles were found when the entrance to the passage wall was being cleared.  Here the walls of the passage were found to merge into an outer circle of large stones and an inner of smaller, set close together and elaborately packed and sunk in a ditch six feet deep and eighteen wide, enclosing the chamber in such a way that passage, chamber and circles together form a gigantic unbroken spiral, with the chamber itself as an unbroken loop in it.  The fourth and innermost circle was in the area enclosed by the ditch (which is represented on the plan by the shaded portion).  This consisted of a number of stones of various sizes, irregularly placed and in some cases inclined outwards.  Under some of them were deposits of burnt human bones.  Lines connecting these stones diametrically were found to intersect at the centre of the monument, directly behind the chamber, and here was found a slab-covered pit which contained an elaborate filling whose purpose is unexplained.  Beside the cover-stone of the pit was a second larger slab of grit, lying flat, the faces of which were covered with an elaborate and continuous pattern of spirals, scrolls and zig-zags.  The position of this stone is shown beside the central stone on the plan.  Of it purpose it can only be said that it was probably magical…

“As if the elaborate features already described thus badly were not enough, a uniform floor of purple clay was found to cover the old natural surface within the area enclosed by the ditch, and there were on the floor, in the ditch, and in many other places extensive traces of fire in the form of burnt patches, blackening and quantities of charcoal.  In addition there were outside the entrance, a line of post-holes and remains of walls suggesting the former existence of some kind of forecourt crossed by a temporary barrier.  Here also were traces of fire and of elaborate ritual.  It must be emphasized of course, that all these features, with the exception of the outer circle of stones and the forecourt, had been completely concealed by the mound, so that they were not visible once the monument was completed… Moreover…the entrance to the chamber had been closed with an elaborate blocking which suggested that once closed the chamber had not been intended to be re-opened.”

Although many questions emerged following the excavation, perhaps that relating to the chronology and evolution of the site (after its ritual use) was most important.  The site as we see it today sits within the confines of a henge monument (which should also be given an independent entry account) and once a stone circle.  And although present day field evidence is inconclusive about which came first, archaeologists like Richard Bradley, Clare o’ Kelly and others are not without opinion.  Bradley (1998) told:

“O’ Kelly argued that there had been two successive monuments on the site.  The earlier one was a stone circle, enclosed by the earthworks of the henge.  In a later phase this was replaced by a passage grave which was built over the surviving remains of the stone circle, its outer kerb being bedded in the ditch of the older monument.”

But Bradley himself doubts this for various reasons, himself interpreting,

“the sequence at Bryn Celli Ddu is to suggest that in its first phase it consisted of a circular unrevetted mound about 15m in diameter, containing a passage grave.  Around the edge of this structure was a stone circle, and beyond that there was a quarry ditch.  When the monument was enlarged, not on one occasion but twice, the passage was extended as far as the earlier ditch and a significantly larger mound was bounded by kerbstones.”

Though adding himself that there is also a trouble with this idea!  As with many other sites, Bryn Celli Ddu appears to have been aligned to the summer solstice.  This notion was first propounded by astronomer Sir Norman Lockyer (1909) in his hugely revised work on the astronomical function of megalithic sites.  It was nearly 100 years before any archaeologist got off their backside and tested Lockyer’s original proposal and found the scientist to have been way ahead of them at their own discipline.  Not unsurprisingly, archaeologist Mike Pitts (2006) was a bit slow in his gimmicky headline in British Archaeology, where he deemed Steve Burrow’s personal observation as “sensational.”  Oh how common this theme seems to be in archaeology.  Twenty years previously Miranda Green (1991) posited that the chamber alignment from Bryn Celli Ddu aligned towards “May Day sunrise” — which doesn’t seem to work.  And on a similar astronomical note, archaeologist Julian Thomas (1991) thought that five post-holes found some five yards beyond the entrance were somewhat reminiscent of the “A” holes at Stonehenge and related to some lunar alignments, thinking that:

“It seems likely that  (they) record a series of observations upon the rising of some heavenly body in order to ascertain its standstill position.”

A point that Clive Ruggles (1999) explored with a little scepticism, pointing out:

“The only possibility is the northern minor limit of the moon, and while the adjacent posts are ranged on the correct side to record the position, say, of the midwinter full moonrise in years before and after the minor standstill, many other interpretations of these posts are doubtless possible.”

There’s been lots written about this place and lots more could be added with various archaeologists showing their relative opinions about the place.  But perhaps more worthwhile is a visit to the place, later on, when the tourists have fallen back under a starlit sky…

References:

  1. Anonymous, “Cromlech at Bryn Celli Ddu, Anglesey,” in Archaeologia Cambrensis, volume 2, 1847.
  2. Barber, Chris & Williams, John G., The Ancient Stones of Wales, Blorenge: Abergavenny 1989.
  3. Bradley, Richard, “Stone Circles and Passage Graves – A Contested Relationship,” in Prehistoric Ritual and Religion, edited by Alex Gibson & Derek Simpson (Sutton: Stroud 1998).
  4. Green, Miranda, The Sun Gods of Ancient Europe, Batsford: London 1991.
  5. Grimes, W.F., “Prehistoric Archaeology in Wales since 1925,” in Proceedings of the Prehistoric Society of East Anglia, 7:1, 1932.
  6. Hemp, W.J., “The Chambered Tomb of Bryn Celli Ddu, Anglesey,” in Archaeologia, volume 80, 1930.
  7. Lockyer, Norman, Stonehenge and other British Stone Monuments Astronomically Considered, MacMillan: London 1909.
  8. Lynch, Frances, Prehistoric Anglesey, Anglesey Antiquarian Society 1991.
  9. o’ Kelly, Clare, “Bryn Celli Ddu: A Reinterpretation,” in Archaeologia Cambrensis, volume 118, 1969.
  10. Ruggles, Clive, Astronomy in Prehistoric Britain and Ireland, Yale University Press 1999.
  11. Thomas, Julian, Rethinking the Neolithic, Cambridge University Press 1991.

© Paul Bennett, The Northern Antiquarian


Panorama Stone (229), Ilkley, West Yorkshire

megalithix

Cup-and-Ring Stones:  OS Grid Reference – SE 11471 47289

Also Known as:

  1. Carving no.99 (Hedges)
  2. Carving no.229 (Boughey & Vickerman)
  3. Panorama Rock

Getting Here

Come out of Ilkley/bus train station and turn right for less than 50 yards, turning left up towards White Wells.  Go up here for less than 100 yards, taking your first right and walk up Queens Road until you reach the St. Margaret’s church on the left-hand side.  On the other side of the road, aswell as a bench to sit on, a small enclosed bit with spiky railings all round houses our Panorama Stones.

Archaeology & History

J.R. Allen’s 1879 drawing

There were originally ten or eleven carvings that made up what have been called the Panorama Stones and the position they are presently housed in this awful fenced section wasn’t their original home.  They used to live a half-mile further up from here, on the moorland edge, just in the woodland at the back of the small Intake Reservoir in the appropriately named Panorama Woods. But in 1890, one Dr. Little — medical officer at Ben Rhydding Hydro — bought the stones for £10 from the owner of the land at Panorama Rocks, as the area in which the stones lived was due to be vandalized and destroyed.  Thankfully the said Dr Little was thoughtful and as a result of his payment he had some of the stones saved and moved into the position where they live today.  However, as a result of the stones being transported closer to Ilkley, the largest of the carvings was damaged and broken in two pieces on its journey, but the good doctor and his mates restored the rock as best they could before sitting it down in the caged position where it remains to this day.

Thankfully there remain a couple of carved rocks in situ in the trees near where these companions originally came from — though they’re completely overgrown.   We uncovered these carvings (one of which was quite ornate) when we were children, but this is now overgrown again and hidden from the eyes of the casual forager.  The original position of these carvings was obviously an important feature to our ancestors, but such aspects are of little relevance to industrialists and those lacking sacred notions of the Earth.  The same geological ridge on which the Panorama Stones were originally found, stretching west along the moor edge from here, possesses a number of other fascinating carvings, not least of which is our Swastika Stone.

J.T. Dale’s 1880-ish drawing
T.Pawson’s late-1870s photo, showing faint ladder marks

It seems they were all first recorded by one J. Thornton Dale, who did some fine illustrations of each stone, which were then collected and organized by a certain Dr. Call of Ilkley in 1880 as a ‘Collection of fourteen drawings of cup-marked rocks.’  These were on file at Ilkley Library (or at least used to be!) and as they’ve not been published previously, I think they need to be retrieved from their dusty shelves and stuck on TNA where they certainly belong!  As we can see in Dale’s illustration — etched shortly after the stone was first discovered — much of the detail of the multiple-rings and some of the curious ladder-like motifs were noted (though not all).

Around the same time in 1879, the renowned archaeologist J. Romilly Allen did an early article on the carved stones of Ilkley Moor, selecting the Panorama Stones as one site in his essay. He was very fortunate in getting an early look at the carvings here and gave the following lucid account:

“The Panorama Rock lies one mile south-west of Ilkley, and from a height of 800ft above the sea commands a magnificent view over Wharfedale and the surrounding country.   About 100 yards to the west of this spot appears to be a kind of rough inclosure, formed of low walls of loose stones, and within it are three of the finest sculptured stones near Ilkley.  They lie almost in a straight line east and west, the first stone being 5ft from the second, and the second 100ft from the third.  The turf was stripped from the first a few years ago, and its having been covered up so long probably accounts for the sculpture being in such good preservation.  It measures 10ft by 7ft, and is im- bedded so deeply in the ground that its upper horizontal surface scarcely rises above the level of the surrounding heath.  The sculpture consists of twenty-five cups, eighteen of which are surrounded with concentric rings, varying from one to five in number.  The most remarkable feature in the design is the very curious ladder-shaped arrangement of grooves by which the rings are intersected and joined together.  I do not think that this peculiar type of carving occurs anywhere else besides near Ilkley.  The second stone is of irregular shape, measuring 15ft by 12ft, and supporting a smaller stone of triangular shape 6ft long by 4ft broad.  Both upper and under stone are covered with cups and rings, but the sculptures have suffered much from exposure.  The superimposed block has eleven cups, two of which are surrounded by single rings.  The under stone has forty-two cups, nine of which have rings.  Amongst these are two unusually fine examples, one has an oval cup 5in by 4in, surrounded by two rings, the diameter of the outer ring being 1ft 3in.  Another has a circular cup 3in diameter and five concentric rings, the outer ring being 1ft 5in across. The third and most westerly stone of the group measures 10ft by 9ft, and lies almost horizontally, having its face slightly inclined.  On it are carved twenty-seven cups, fourteen of which have concentric rings round them.  Some of the cups have connecting grooves and three have the ladder-shaped pattern before referred to.  Several stones near have cup marks without rings.”

Heywood’s artistic effort!
E.T. Cowling’s drawing

When Harry Speight (1900) visited these stones a few years later he echoed much that Romilly Allen had said previously, also commenting on how on certain parts of the carving, “the rings enclosing each cup are connected with ladder-like markings.” (my italics, PB)  These “ladders” were even mentioned in a speculative but inaccurate essay by Nathan Heywood (1888) in a paper for the Lancashire and Cheshire Antiquarian Society.  Equally important was a description of the site when members of the Yorkshire Archaeological Society visited the Panorama Stones in 1884, and Rev. A.C. Downer (1884) described this “most important group” of stones, saying that

“Near the Panorama Rock are three large masses of ironstone close together, and averaging ten to twelve feet across each way, the horizontal surface of which are covered with cups and rings, and two of these stones have also a peculiar arrangement of grooves somewhat resembling a ladder in form.”

Modern Folklore

Despite this and other descriptions, in recent times local archaeologist and rock art student Gavin Edwards has propounded the somewhat spurious notion that the ladders and perhaps other parts of the Panorama Stone carvings have a recent Victorian origin, executed by a local man by the name of Mr Ambrose Collins.  Edwards took this silly idea to the Press, thinking he’d found something original, following a recovery of some notes from the Ilkley Gazette newspaper (earlier archaeologists had already explored this, which he should have been aware of), in which was stated that the said Mr Collins told other people in the Ilkley area that he was carving some of the old stones on the moors nearby.  Now we know that Collins did this (we have at least 3 examples of his ‘rock art’ in our files), but he wasn’t allowed to touch the Panorama Stones!

Panorama Stone 229 (by James Elkington)
Close-up of multiple rings (by James Elkington)

However, despite Gavin Edwards’ theory, it is clear that Ambrose Collins was not responsible for any additional features on the Panorama Stones: an opinion shared by other archaeologists and rock art specialists.  Edwards’ theory can be clearly shown as incorrect from a variety of sources (more than the examples I give here).

In no particular order…there was an early photo of the main stone (above), taken sometime in the late-1870s by Thomas Pawson of Bradford which shows, quite clearly, some of the faded “ladder” motifs on the rock in question while the stone was still in situ.  There is also an additional and important factor that Edwards has seemingly ignored, i.e., that neither J.Romilly Allen, Harry Speight, members of the Yorkshire Archaeological Society, nor any of their contemporaries made any comments regarding additional new motif elements carved onto these rocks when they visited the carvings at the period Edwards is suggesting Collins did his additions — which such acclaimed historians would certainly have mentioned.  Mr Edwards theory, as we can see, was a little lacking in research.  Considering only these small pieces of evidence, the pseudoscientific nonsense of the Victorian carving theory can safely be assigned to the dustbin!

Close-up showing faint ladders (by James Elkington)
Close-up under lighting (by James Elkington)

If however, we do use Mr Edwards’ reasoning: take a look at the modern “accurate” drawing of this carving in Boughey & Vickerman’s (2003) book—which actually, somehow, misses elements of the carving that are clearly shown in Mr Pawson’s 1890’s photo and are still visible to this day! What are we to make of that?  Have these modern folk been at it with the sand paper!?  We can only conclude that these simple errors show a lack of research.  The most worrying element here is that a local archaeologist can make such simplistic errors in his analysis of prehistoric and Victorian carvings without checking over publicly accessible data.  Even more disconcerting was the fact that he was running Ilkley’s local prehistoric rock art group!

However, we cannot dismiss out of hand the words of the said Ambrose Collins in his proclamation of carving stones on the moors, as there is clear evidence that he did a replica of the Swastika Stone on rocks near the original site of the Panorama Stones.  The carving he did is very clearly much more recent.  We have also found one carving with Collins’ initials — ‘A.C.’ — carved on it and the date ‘1876’ by its side.

And although we can safely dismiss the Edward’s Theory about the Panorama Stones “ladders”, we may need to reconsider a number of other carvings on Rombald’s Moor as potentially Victorian in nature using the rationale Edwards proclaimed.  For example — and using the disproved Edwards Theory — when we look at Romilly Allen’s drawing of the famous Badger Stone (from the same essay in which his image of the Panorama Stone is here taken), much of the carving as it appears today was not accounted for in the drawing.  We can also look selectively at many other cup-and-rings on these moors and find discrepancies in form, such as with the Lattice Stone on Middleton Moor, north of Ilkley, or the eroded variations on the Lunar Stone.  We have to take into consideration that some may have been added to; but more importantly, we must also be extremely cautious in the movement between our idea and the authenticity of such an idea.  It is a quantum leap unworthy of serious consideration without proof. (though the example of the Lattice Stone has a markedly different style and form to the vast majority of others on the moors north and south of here. Summat’s “not quite right” with that one and the comical Mr Collins might have had his joking hands on that one perhaps…)

One very obvious reason that a number of the cup-and-ring carvings were not drawn correctly by historians and archaeologists alike, would be the weather!  Archaeologists are renowned for heading for cover when the heavens open, quickly finishing their jottings and running for cover — and this would obviously have been the case with some of the drawings, both early and modern.  Bad eyesight and poor lighting conditions is also another reason some of the carvings have been drawn incorrectly, as a number of modern archaeology texts — including a number in Boughey & Vickerman’s (2003) book — illustrate to any diligent student!

There is still a lot more to say about this fascinating group of carvings, which I’ll add occasionally as time goes by.  And if anyone has any good clear photos of the stones showing the intricate carved designs that we can add to this profile, please send ’em in (all due credit and acknowledgements will be given).

…to be continued…

References:

  1. Allen, J. Romilly, “The Prehistoric Rock Sculptures of Ilkley,” in Journal of British Archaeological Association, volume 35, 1879.
  2. Bennett, Paul, The Panorama Stones, Ilkley, TNA: Yorkshire 2012.
  3. Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
  4. Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
  5. Downer, A.C., “Yorkshire Archaeological and Topographical Association,” in Leeds Mercury, August 28, 1884.
  6. Hadingham, Evan, Ancient Carvings in Britain, Souvenir Press: London 1974.
  7. Hedges, John, The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
  8. Heywood, Nathan, “The Cup and Ring Stones of the Panorama Rocks”, in Trans. Lancs & Cheshire Anti. Soc.: Manchester 1889.
  9. Hotham, John Paul, Halos and Horizons, Hotham Publishing: Leeds 2021.
  10. Speight, Harry, Upper Wharfedale, Elliott Stock: London 1900.

Acknowledgements:  Huge thanks to the staff at Ilkley Library for their help in unearthing the old drawings and additional references enabling this site profile.

© Paul Bennett, The Northern Antiquarian


Stag Cottage, Glen Lochay, Perthshire

megalithix

Cup-and-Ring Stones:  Grid Reference – NN 5320 3584

The carved rocky outcrop

Also Known as:

  1. Duncroisk 1 (Morris 1981)
  2. Duncroisk 4 (Canmore)
  3. Keeper’s Cottage

Getting Here

From the north side of Killin, take the minor road next to the Bridge of Lochay Hotel at Killin, past the hydroelectric station, through the wooded section until the fields open out again. The first gorgeous old house you come to is on the right-hand side of the road. Stop here! (I could really do with living here misself – tis a truly superb place!) You can ask the lady at the house where the carvings are and she’s very happy to point them out – they’re on the rocky crag near the bottom-end of the field on the other side of the road.

Archaeology & History

Drawing of the main carvings (after R.W.B. Morris)

What a brilliant setting and clump of carvings we have here! As you get to the rocky hillock in the field, you see that there are numerous rocks visible along the ridge, a number of which have carvings on them – some with just cups, but most possess a number of cup-and-rings.  It’s an excellent spot!  Depending on the time of year when you come here will determine whether or not you get a better look at the carvings or not.  I’d recommended April and May as the best time, as the vegetation is at its lowest then.  Visiting the site near the end of summer doesn’t give you as good a view — but even then, if you like your rock art, you’ll still love it!  The rocks here are mainly quartzite schist, with a number of the surfaces being almost pure quartz.  Intriguingly, none of the pure quartz sections appear to have been carved on.

The carvings here were first mentioned in an article by D. Haggart (1895), who described them as “a very remarkable set of incised rock sculptures…discovered lately in this neighbourhood by Mr John McNaughton.”  And remarkable they are indeed!  In Ronald Morris’ (1981) survey of this site — which he labelled Duncroisk 1 — he counted eight separate rock surfaces that had been carved, marking them as carvings a-h, but there are at least eleven of them here; and in all honesty, if we could strip the surface of the hill of its vegetation, we’d probably find a few more hidden away!

Cup-marked stone

As you’ve walked across the field from the road, past the first unrecorded cup-marked stone near the start of the rocky rise, we reach Mr Morris’s ‘stone A’ near the easternmost end of the ridge, which is just a small slab of stone with “at least 6 cup-marks” on its surface.  It’s easily missed in poor light, so watch out.  However, if you reach ‘stone b’ (described below), just walk back ten steps and you’ll see it.

Carved Stone B

Ten yards west is ‘Stone B’, seemingly split into two sections, whereupon we find “a cup-and-two-rings and at least 12 cups-and-one-ring, up to 19cm in diameter – some rings gapped, others not, some with and some without a radial groove from the cup, and some with a “runner” or cup in a ring. There are also at least 58 cups” on this section of rock. ‘Stone C’ can also be missed, this time due to its size and the fact that the larger cup-marked surfaces are ahead of you.  But assuming you don’t miss it, this carving consists of “a well-preserved cup-and-two-complete-rings 25cm in diameter, and a cup.”

Carved Stone D

‘Stone D’ is just next to ‘stone C’, but with rather more ornate designs etched upon it.  This is one of the more archetypal petroglyph designs that are found in the photo-guides and textbooks.  Morris (1981) told that it consisted “of a cup-and-two-complete-rings and 2 cups-and-one-complete-ring up to 20cm in diameter, also a cup-and-one-complete-ring and 2 cups.”  The photo here shows it pretty clearly.

Carved Stone E
Curious 'bowl', top-centre
Curious ‘bowl’, top-centre

‘Stone E’ is the next one along, just a foot or two away and Mr Morris (1981) told that the carving consists of “2 cups-and-one-ring up to 13cm in diameters, 1 complete, the others gapped, joined by groove to a cup, and at least 33 cups (C.G. Cash counted 42 in 1911).”  Most of the carved elements on this rock are around the edges of the stone.  A very large faded circular depression, man-made, is also visible on this section of the petroglyph (above left), suggestive of lunar symbolism.

Carved Stone F

‘Stone F’ is less than 10 yards further west and has the greatest number of cup-markings of the entire group here, as Morris described: “3 cups-and-one-complete-ring up to 9cm in diameter, and at least 80 cups, a few of which are widely scattered over a big area sloping steeply further south, beyond the attached diagram.”  It’s perhaps the most notable of the carved rocks along the ridge here — not by virtue of its design, more its geological physique than anything else.

Carved stone G

‘Stone G’ is next along and has a curious look about it, suggestive of more modern times.  At first sight it doesn’t seem to have quite the magnitude that Morris’ description affords it, but on closer inspection by rolling some of the covering turf back away from the rock, you can see what he meant.  This stone has “10 cups-and-one-complete-ring, up to 10cm diameter…and also 15 cups.”  One of the cup-and-rings on this section was found by Morris to have been “the smallest so far recorded by the author in Scotland.”

Then we reach ‘stone H’ at the eastern end of the carved ridge, consisting of simply 3 cup-markings.  One of them has a faint arc pecked around it.  Further along the rock, a complete cup-and-ring is visible close to the edge.

This entire line of petroglyphs is a fine place in a fine setting, perfect for meditative practices!  Other carvings can be found close by: Duncroisk 3 is a coupla hundred yards east across the field just over the fence by the riverside; and Duncroisk 2 is on the other side of the fence down towards the River Lochay on the same side of the adjacent burn less than 100 yards away (though this is trickier to reach). Other prehistoric sites can be found not too far away…

Folklore

Local people tell of having seen curious lights flitting along the edges of the field, river Lochay and roadside close to the carved rocks hereby.

…to be continued…

References:

  1. Cash, C.G., “Archaeological Gleanings from Killin,” in Proceedings of the Society of Antiquaries of Scotland, volume 46, 1911-12.
  2. Cormack, E.A., “Cross-Markings and Cup-Markings at Duncroisk, Glen Lochay,” in Proceedings of the Society of Antiquaries, Scotland, volume 84, 1952.
  3. Gillies, William A., In Famed Breadalbane, Munro Press: Perth 1938.
  4. Haggart, D., “Notice of the Discovery of Cup-and-Ring Sculpturings at Duncrosk, near the Falls of Lochay, in Glenlochay,” in Proceedings of the Society of Antiquaries of Scotland, volume 29, 1894-95.
  5. Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR 86: Oxford 1981.

© Paul Bennett, The Northern Antiquarian


Middleton Moor Carving (447), North Yorkshire

megalithix

Cup-and-Ring Stone:  OS Grid Reference – SE 10931 51278

Getting Here

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 & lines
Design 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:

  1. Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
  2. Feather, Stuart, “Mid-Wharfedale Cup-and-Ring Markings, no.47: Middleton Moor, Ilkley,” in Cartwright Hall Archaeology Gorup Bulletin, 11:9, 1966.

© Paul Bennett, The Northern Antiquarian


Churn Milk Joan, Midgley Moor, West Yorkshire

megalithix

Standing Stone:  OS Grid Reference – SE 01974 27684

Also Known as:

  1. Saville’s Low

Getting Here

Churn Milk Joan, Midgley

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:

  1. Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milverton 2001.
  2. Eliade, Mircea, The Myth of the Eternal Return, Bollingen 1954.
  3. Haslem, Michael, “Churn Milk Joan: A Boundary Stone on Midgley Moor,” in Wood and Water, 1:8, 1980.
  4. Heginbottom, J.A., “The Prehistoric Rock Art of Upper Calderdale and the Surrounding Area,” Yorkshire Archaeology Society 1977.
  5. Ogden, J.H., “A Moorland Township: Wadsworth in Ancient Times,” Proceedings of the Halifax Antiquarian Society, 1904.
  6. Robert, Andy, “Our Last Meeting,” in NEM 37, 1989.
  7. Robert, Andy, Ghosts and Legends of Yorkshire, Jarrold: Sheffield 1992.
  8. 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”.

© Paul Bennett, The Northern Antiquarian


Dragon Stone, Steeton, West Yorkshire

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Cup-and-Ring Stone:  OS Grid Reference – SE 03590 43677

Also Known as:

  1. Hollins Bank Farm Carving

Getting Here

Dragon Stone carving

Go northwest along the country lane running between High Utley (on the outskirts of Keighley) and Steeton known as Hollins Lane, which then becomes Hollins Bank Lane.  You’ll see the fine castle building as you go along, known simply as The Tower arising from the top of the tree-line.  As you get to the driveway leading down to the Tower, a less impressive farm building is on the other side of the road, known as Hollins Bank Farm.  On the right-hand side of this house is an old overgrown road.  Walk along here to the end, going into the field immediately left where a small group of stones can be seen halfway up the field by the tree.  You’re here!

Archaeology & History

First discovered one sunny afternoon on April 7, 2010, in the company of Buddhist scholar Steve Hart, this is a really curious carving, inasmuch as it seems to have been deliberately carved around what may be curious naturally eroded cup-forms.  You’ll have to visit it to see what I mean.  They’re a bit odd.  Almost too perfect as cups to be the ancient eroded ones we’re used to looking at.  But this aside….

…and again
Dragon Stone, looking NW

It’s a lovely flat stone, with curvaceous lines running across the middle and edges and into cup-markings.  Although some of the cups give an impression of being natural, others have the authentic-looking ring to them, with at least one of them possessing a near-complete ring encircling it (as you can faintly see in the close-up photo here).  There are at least 19 cup-markings on this stone, and four main ‘lines’ running roughly in north-south directions, with the cups interspersed between them.  At the top (north) end of the rock, separated by a crack, the lines stop and we just have some cup-markings.  The crack in the stone may have been functional here.

Although graphically different, the carving has a similar feel in design (for me at least) to that of the Wondjina Stone at Rivock Edge, on the other side of the Aire Valley a couple of miles east of here — though this newly found carving is in a better state of preservation.  The small scatter of rocks around it seem to have been unearthed or moved recently by the land-owner (who aint keen on you looking on his land, so be careful) and the good state of preservation may be that they were only unearthed sometime this century.  We must also keep in consideration that the lines that run across the surface of this stone are water-lines and may be more the result of Nature’s hand than humans.  It’s obvious that some human intervention has occurred here, but it may be difficult to ascertain the precise degree of affectation between the two agencies.

Close-up of cups & lines

According to the archaeological record-books there are no carvings here, but another simple cup-marked stone accompanies this more extravagant serpentine design just a few yards away; a simple cup-marked stone may be seen at the top of the hill; and the faint Currer Woods carving can be found 0.68 miles (1.09km) due west of here, on the other side of the small valley.  Other outcrop stones scatter the fields and slopes here, some of which still need checking to see whether or not further carvings exist.

…And for those who may bemoan my seemingly romantic title of the carving: remember! — close by in Steeton township, between the years 1562 and 1797, there was an old field-name known well to local folk, of “one parcel of arable land in town field called Drakesyke, 3 acres”, i.e., the dragon’s stream or dyke. (Gelling 1988; Smith 1956)

References:

  1. Clough, John, History of Steeton, S. Billows: Keighley 1886.
  2. Gelling, Margaret, Signposts to the Past, Phillimore: Chichester 1988.
  3. Smith, A.H., English Place-Names Elements – 2 volumes, Cambridge University Press 1956.

© Paul Bennett, The Northern Antiquarian


Salford Cross Cup-Marks, Oxfordshire

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Cup-Marked Stone:  OS Grid Reference – SP 28644 28058

Getting Here

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:

  1. Bennett, Paul & Wilson, Tom, The Old Stones of Rollright and District, Cockley: London 1999.

© Paul Bennett, The Northern Antiquarian


Middleton Moor Carving (484), North Yorkshire

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Cup-Marked Stone:  OS Grid Reference – SE 11650 51623

Getting Here

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:

  1. Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
  2. 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

© Paul Bennett, The Northern Antiquarian 


Askwith Moor Carving 529, North Yorkshire

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Cup-Marked Stone:  OS Grid Reference – SE 17396 50745

Getting Here

To be found a couple of hundred yards west of Askwith Moor Road, head towards the bottom of the row of grouse-butts, following the fence that runs into the moorland across from the dusty car-park.

Archaeology & History

Single cup-marked stone

This single cup-marked stone — list as carved stone no.529 in Boughey & Vickerman’s (2003) survey — was reported when some English Heritage doods came here and found this small upright stone (probably part of a larger prehistoric monument, e.g., walling or cairn) and gave the cup-marking their “all clear” stamp and thought it authentic.  But if memory serves me right (which it doesn’t always do these days!), I’m pretty sure Graeme Chappell came across this possible carving in the early 1990s during one of our many forays over these moors.  It’s a cute little thing — though only for the purists amongst you perhaps — but, of course, needs to be seen in the context of its proximity to the many other prehistoric monuments across this moorland plain.

References:

  1. Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.

© Paul Bennett, The Northern Antiquarian


Lippersley Pike Rock, Denton Moor, North Yorkshire

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Cup-Marked Stone:  OS Grid Reference – SE 1471 5233

Also Known as:

  1. Carving no.506 (Boughey & Vickerman)
1992 drawing of CR506

Getting Here

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:

  1. Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.

© Paul Bennett, The Northern Antiquarian