Great Skirtful of Stones, Burley Moor, West Yorkshire

Cairn: OS Grid Reference — SE 14053 44541

Also Known as:

  1. Great Apronful of Stones

Getting Here

Various routes to this giant tomb, which happens to be a way off the roads (thankfully!). Probably the easiest way is from the Menston-side: up Moor Lane, turn left at the end, go 200 yards and take the track onto the moor. Just keep walking. If you hit the rock-outcrop nearly a mile on, you’ve gone past your target. Turn back for about 400 yards and walk (south) into the heather. You’re damn close!

Archaeology & History

The Great Skirtful of Stones cairn looking east to Otley Chevin
Great Skirtful of Stones cairn looking east to Otley Chevin

Due north of the Skirtful Spring water source, this is one of Ilkley Moor’s major prehistoric sites: ‘major’ for a number of reasons – not least of which is the size of the thing!  Although getting somewhat overgrown these days as more of the heathlands encroach the mass of rocks that constitute the central ‘tomb’, it is still a formidable heap. Another reason this site is of importance is its position in the landscape: it can be seen as the peak or ‘nipple’ on the landscape from considerable distances north, south and east of here, rising up on the horizon and catching the eye from many miles away. This was obviously quite a deliberate function of the site when it was first constructed – thought to be in the Bronze or Iron Age period (sadly we have no decent excavation here to tell us just when it was made). Another reason for its importance is its position relative to a once huge prehistoric graveyard immediately east. And right next to it we also find a curious circular monument that has never been properly excavated, whose function is unknown. It is also the seeming focal point of at least one, though possibly three prehistoric trackways: one of which goes right past it, though swerves on its southern edge quite deliberately so as to not touch the monument. This trackway appears to have been a ceremonial ‘road of the dead,’ along which our ancestors were carried, resting for some reason at the nearby Roms Law, or Grubstones Circle, a few hundred yards to the west.

Wrongly ascribed as a “round barrow” by archaeologist Tim Darvill (1988), the Great Skirtful cairn was named in boundary changes made in 1733, where one Richard Barret of Hawksworth told that the site was “never heard go by any other name than Skirtfull of Stones.”

In 1901 there was an article in the local ‘Shipley Express‘ newspaper — and repeated in Mr Laurence’s (1991) fine History of Menston and Hawksworth — which gave the following details:

“Mr Turner led the way across Burley Moor to the Great Skirtful of Stones, a huge cairn of small boulders, nearly a hundred tons on a heap, although for centuries loads have been taken away to mend the trackways across the moor… The centre of the cairn is now hollow, as it was explored many years ago, and from the middle human bones were taken and submitted to Canon Greenwell and other archaeologists” – though I have found little in Greenwell’s works that adequately describe the finds here. Near the centre of the giant cairn is a large stone, of more recent centuries, which once stood upright and upon which is etched the words, “This is Rumbles Law.” The Shipley Express article goes on: “Mr Turner explained that ‘law’ was always used in the British sense for a hill, and Rumbles Hill, or cairn, was a conspicuous boundary mark for many centuries. He had found in the Burley Manor Rolls, two centuries back, that on Rogation Day, when the boundaries were beaten by the inhabitants, they met on this hill, and describing their boundaries, they concluded the nominy by joining in the words, “This is Rumbles Law.””

Great Skirtful on 1851 map

Several other giant cairns like this used to be visible on the moors, but over the years poor archaeological management has led to their gradual decline (and in editing this site profile in 2016, have to report that poor archaeological and moorland management is eating into and gradually diminishing this monument to this day).  We still have the Great Skirtful’s little brother, the Little Skirtful of Stones, a half-mile north of here.  The very depleted remains of the once-huge Nixon’s Station giant cairn can still be seen (just!) at the very top of Ilkley Moor 1½ miles (2.65km) west.*  And we have the pairing of the giant round cairn and long cairn a few miles west on Bradley Moor, near Skipton.  The tradition of such giant tombs on these hills was obviously an important one to our ancestors.

Folklore

We find a curious entry in the diaries of the Leeds historian Ralph Thoresby, in the year 1702, which seems to describe the Great Skirtful of Stones, adding a rather odd bit of folklore. (if it isn’t the Great Skirtful, we’re at a loss to account for the place described.) Mr Thoresby told how he and Sir Walter Hawksworth went for a walk on Hawksworth’s land and said how,

“he showed us a monumental heap of stones, in memory of three Scotch boys slain there by lightning, in his grandfather’s, Sir Richard Hawksworth’s time, as an old man attested to Sir Walter, who being then twelve years of age helped to lead the stones.”

As far as I’m aware, this old story of the three Scottish boys is described nowhere else.

Like many giant cairns, the Great Skirtful has a familiar creation myth to account for its appearance. In one version we hear that it was made when the local giant, Rombald (who lived on this moor) and his un-named wife were quarrelling and she dropped a few stones she was carrying in her apron. A variation swaps Rombald’s wife with the devil, who also, carelessly, let the mass of stones drop from his own apron to create the ancient cairn we still see today.

According to Jessica Lofthouse’s North Country Folklore (1976), a Norse giant by the name of Rawmr, “fell fighting against the Britons of Elmet and is buried, they say, on Hawksworth Moor” – i.e., the southeastern section of Rombald’s Moor, very probably at the Great Skirtful of Stones.  I’ve yet to explore the history and etymology of the name Rawmr…

…to be continued…

References:

  1. Bennett, Paul, The Old Stones of Elmet, Capall Bann: Chieveley 2001.
  2. Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
  3. Darvill, Timothy, Ancient Britain, AA: Basingstoke 1988.
  4. Laurence, Alastair, A History of Menston and Hawksworth, Smith Settle: Otley 1991.

* Whoever is/was supposed to be responsible for the care of the Nixon’s Station giant cairn monument should be taken to task as it’s been virtually obliterated since when I first came here 30 years ago.  Which useless local archaeologist and/or council official is responsible for its destruction?  Who allowed it to happen?  Why are Ilkley Moor’s prehistoric monument’s being so badly looked after by those who are paid to ensure their maintenance?  Are their heads up their arses, in the sand, or—don’t tell me—the prawn sandwiches are to blame!?

© Paul Bennett, The Northern Antiquarian

Swastika Stone, Ilkley Moor, West Yorkshire

Cup-and-Ring Stone: OS Grid Reference – SE 09557 46967

Also Known as:

  1. Carving no.53 (Hedges)
  2. Carving no.217 (Boughey & Vickerman)
  3. Fylfot Stone
  4. g.yung drung

Getting Here

The Swastika Stone, Ilkley Moor

From Ilkley, head up the road towards White Wells and keep going along the road.  Shortly before the road becomes a dirt-track, just over a small stone bridge with gorse all around, there’s a noticeable footpath that runs west onto the moors, going roughly parallel to the wealthy houses by the moorside.  Keep going along this footpath and you’ll hit the recently unneeded modern creation of a large sandy trackway (and excessive litter that it’s created) that takes you straight to the curious railings stuck upon some rocks a quarter-mile away. That’s where you’re going!

Archaeology & History

This famous carving was first described as a ‘swastika’ by a Mr J. Thornton Dale around 1880 – and the name seemed to catch on damn quick! The stone had become established with this title at the end of that decade, and seemed immortalized with the name when J. Horsfall Turner wrote about it in the very popular history book he co-authored with the reverend Collyer in Ilkley Ancient and Modern. (1885) By then, comparisons had already been drawn with the acknowledged swastika symbol in Tossene, Sweden, and by the time Harry Speight described it in his colossal Upper Wharfedale (1900), other near-identical European swastika carvings had been found in Valcamonica, northern Italy. (though these lacked the ‘tail’ found on Ilkley’s carving)

J.R. Allen’s drawing of Swastika Stone
Eric Cowling’s drawing of Swastika Stone

Earlier images of the swastika symbol can be found in most continents, but the earliest known example appears to be the paleolithic swastika carvings from the Ukraine, etched on pieces of ivory and dating from between 18,000-15,000 BC.  Some swastikas have been found carved on mammoth tusks!

Invariably in modern history it is its mythic association of the swastika to certain political imbeciles which troubles many people, but this needs to be set into a much more ancient historical context.  The symbol ostensibly relates to sacred notions of the cosmos in all the non-literate cultures where it appears.  Numerous surveys by comparative religious scholars isolated the nature of the design many years ago.  The Leeds Buddhist, Steve Hart, said that Ilkley’s Swastika Stone:

“to a Buddhist should be a sonorous gatha (a sutra or verse), a plenitude of transcendental boddhisattvic vision. The swirling wheel of the four arms suggests the four realms as experienced by Jains, upanishadic sages and ancient Buddists. They ARE samsara. The samsara is resolved into the nirvana at the hub. The four realms are the human realm, god realm, hell realm and the nature realm. There are no clear delineated demarcations between these realms. All interpenetrate.”

(Images of the popularised ‘modern’ swastika – a huge misnomer – can be found on several church bells in Yorkshire, where they were used as charms to protect against lightning, following in the mythic fashion of Thor. These swastikas date from the 15th century.)

Evan Hadingham’s rubbing of the Swastika Stone

I first saw this carving when I was 10-years old and it had one helluvan effect on me! I stood and stared at it (or rather gazed, without thought…) for some length of time, knowing that I’d seen this somewhere before* and that it had some considerable importance – though about what, I knew not! The cups in the design align north-south and east-west. The northern line points directly at Simon’s Seat on the northern skyline. The eastern axis points directly at Almscliffe Crag, above which the equinox sun seems to rise from here.

For the real alignment fanatics, check out the alignment from Twelve Apostles to here: on the date of the last major lunar standstill (occurrent every 18.6 years), the moon set over the cairn at Lanshaw Lad. It wasn’t until I got home and checked the extension of this moonset line, that I realised if you follow it further along the course, you hit the Swastika Stone bang on! Though this is probably just a coincidence (we do have hundreds of cup-and-rings on these moors, so it’s bound to hit one or more of them).

The Swastika in 1930, with explanatory board

In this Swastika Stone, the curious single ‘outlying’ cup-and-ring at the edge of the four spiralling arms is very probably the point from which the four-arms originated and not the other way round.  In traditional cultures and early cosmogenic patterns the world over, the cosmos itself emerged from the ’round’, the singular, the point, or uroboros — and this is what this Swastika Stone appears to represent here: the cosmos emerging from the singularity, giving birth to the world and the four cardinal points.  Such an element is a simple one and is found in Creation myths the world over. (For those of you who aint into using psychedelics at sites, a good overview of this idea is in Erich Neumann’s Origins & History of Consciousness [although there’s no reference to this symbol] and which should be read by anyone pretending an interest in the nature of the archaic mind. It’s a good work on the psychology of the Dreamtime.)

As some local Ilkley folk are probably aware, a copy of the Swastika Stone carving was executed in the latter-half of the 19th century, probably by a local chap called Ambrose Collins, not far from the original swastika at the edge of the woodland.  Some images and a brief history of this copied swastika and associated cup-markings will be published in due course on the  Rombalds Moor Project website.

Other important cup-and-ring petroglyphs that are worth visiting on the moor with unique carved symbols in them include the Hanging Stones, the Idol Stone, Haystack Rock, Badger Stone and many many more.

Note:

A fella who used the pseudonym of ‘Pad’ suggests that the carving is only a few centuries old, and compares it to other much more recent etchings on these moors, where the erosion has been of no greater or lesser force. The suggestion has been made about other carvings on these moors and whilst I have an open mind about this, if this is the case, we would have to relate the same reasoning to countless other carving on these hills. In which case, a great deal of cup-and-ring art would have to be redesignated as medieval in nature.

References:

  1. Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milverton 2001.
  2. Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
  3. Collyer, Robert & Turner, J. Horsfall, Ilkley, Ancient and Modern, William Walker: Otley 1885.
  4. Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
  5. Hadingham, Evan, Ancient Carvings in Britain, Garnstone: London 1974.
  6. Hedges, John, The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
  7. Pennick, Nigel, The Swastika, Bar Hill: Cambridge 1980.
  8. Speight, Harry, Upper Wharfedale, Elliott Stock: London 1900.
  9. Wilson, Thomas, The Swastika – The Earliest Known Symbol and its Migrations, Smithsonian: Washington 1896.

* although I’d never seen the carving before, I had of course seen its archetypal manifestation in the shapes in Nature: spiral galazies, polar rotation (I was a budding astronomer as a kid!), hair growth from the crown, petals, swirling clouds, etc, etc. The Swastika, as we know, is representative of the creative spark itself: the life-essence, emerging from the centre and manifesting itself in the four worlds, which are its emergent arms.

Links:

  1. Reclaim the Swastika – A fine website which is into doing just what it says on the tin!

© Paul Bennett, The Northern Antiquarian