Follow the same directions to reach the Middleton Moor carvings, numbers 436 and 437, up along the footpath. This is the easiest to find as it’s right beside the footpath – as Richard Stroud’s photograph clearly shows.
Archaeology & History
Drawing of CR-435Middleton Moor CR-435
Near a cluster of other cup-and-ring marked rocks, this decent example can be found besides what may be a prehistoric trackway running roughly east-west over the Long Ridge to Foldshaw Ridge. Amazingly, this stone was never previously catalogued until Boughey & Vickerman’s survey in 2003. Just goes to show what y’ can find if y’ gerrof yer arses and look for yerselves! Comprising at least thirty cups and several lines, one faint cup-and-ring is discernible on the western edge of the stone.
If you walk westwards, back up to the hilltop from here (only a couple of hundred yards), a single upright stone which some might consider megalithic, stands right before your eyes! An excellent spot!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Follow the same directions to get to the Middleton Moor Carving 437, along the Ridge Way footpath, and this stone is just a few yards away.
Archaeology & History
This all-but insignificant carving was first described in Boughey & Vickerman’s (2003) survey, as a “small rough grit rock sloping into turf” with what may be two faint cup-markings etched on its surface. Unless you’re a bittova rock-art fanatic, this might not be of much interest to you! (thanks to Richard Stroud for use of his photo!)
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Dead easy this. From Otley, take the north road over the River Wharfe and turn left following the signs to Askwith, where you’ll hit Weston village first. Once here, take the small left turn down to Weston Hall and the accompanying church. Go into the churchyard and check the graves!
Archaeology & History
This is a real curiosity. It’s found in the graveyard of All Saints church, Weston, where one of the graves has several small stones on it, with this small stone with the following cup-and-ring designs upon it. A plaque has been attached to it as a memorial to one ‘Susan Mary Dawson’. Strange…
Sid Jackson’s 1958 sketchCup-marked stone deliberately placed on a christian grave
It was first written about by Sidney Jackson (1957), but where it first came from and why it has been placed here in a christian setting is something of a mystery. It’s also odd inasmuch as although we know that there was some form of ritual or geomantic use of cup-and-rings in relation to neolithic and Bronze Age burials — that such a tradition has been performed by this particular family on this grave. It is obviously highly unlikely that this family had any knowledge whatsoever of burial traditions in relation to cup-and-ring art (please, shoot me down in flames if you know otherwise), so this re-use of this prehistoric stone is likely to be little other than fortuitous. But then, the occult history of some of the influential families in and around this region in relation to witchcraft, ancient kingship and esoteric practices, might indicate otherwise…
Does anyone know anything about the Dawson family history which might throw light on this modern use of a prehistoric tomb marker? It has all the hallmarks of once coming from a prehistoric cairn, but we know little of its history prior to 1957.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Jackson, Sidney, ‘Cup-and-Ring Boulder, Weston Churchyard,’ in Cartwright Hall Archaeology Group Bulletin, 2:16, 1957.
As with many of the other Baildon Moor carvings, get up to Dobrudden caravan park and walk into the grasses immedietaly northeast onto the Dobrudden necropolis plain for 100 yards or so. It’s not far from the track and one of the many bell-pits is very close by. Look around!
Archaeology & History
A lovely little carving (sad aren’t I…?), first recorded and illustrated in Glossop’s (1888) famous essay on the ancient sites of Baildon Moor. He described there being 18 cups etched onto this rock — a fact echoed a few decades later in Mr Baildon’s (1913) magnum opus. The modern surveys thankfully still count 18 cups here.
Mr Baildon’s 1913 imageGlossop’s 1888 drawing
This is another one of the Baildon Moor carved stones included in Mr Holmes’ (1997) astronomical survey, where he thought the cup-markings here represented stellar maps and other prehistoric astronomical events. A damn good investigative notion, but it sadly aint true. However, those self-same ‘central design’ curves found at a large proportion of other carvings on and around Baildon Moor are plain here for all to see…
References:
Baildon, W. Paley, Baildon and the Baildons (parts 1-15), St. Catherines Press: Adelphi 1913-26.
Boughey, K.J.S. & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Colls, J.N.M., ‘Letter upon some Early Remains Discovered in Yorkshire,’ in Archaeologia, 31, 1846.
Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
Cudworth, William, ‘Baildon Moor & its Antiquities,’ in Bradford Antiquary 3, 1900.
Glossop, William, ‘Ancient British Remains on Baildon Moor,’ in Bradford Antiquary No.1, 1888.
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Holmes, Gordon, 2000 BC – A Neolithic Solstice Odyssey, SASRG 1997.
Takes a bitta finding this one, mainly cos it’s only a small stone – but worth the walkabout. It’s on the Low Plain, north of Dobrudden, about 10 yards down the path from the caravan park.
Archaeology & History
W.P. Baildon’s 1913 drawing
As with other stones on this roughland plain, it was first recorded and drawn by the local historian W. Paley Baildon (1913), who counted at least 15 cups here, with one complete cup-and-ring. Some of the cups have very distinct half-rings upon them; whilst others are connected by faint lines (as his drawing clearly shows). The later surveys of Hedges (1986), and Boughey & Vickerman (2003) counted 17 cups on this stone. This was another of the carvings which local astronomer Gordon Holmes (1997) thought may have been based on the constellation of Cassiopeia (like the nearby Cassiopeia Stone, found on the same moorland plain).
References:
Baildon, W. Paley, Baildon and the Baildons (parts 1-15), St. Catherines: Adelphi 1913-26.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Glossop, William, ‘Ancient British Remains on Baildon Moor,’ in Bradford Antiquary, 1888.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Holmes, Gordon T., 2000 BC – A Neolithic Solstice Odyssey, SASRG Press 1997.
Best way to find this is to get up to the Dobrudden caravan site on the edge of Baildon Hill, near the cinder-dump, then follow the same directions as for the Baildon Moor carving no.171. It’s on the same plain amidst the grasses – but you’re gonna have to zigzag about for a while before you find it!
Archaeology & History
W. Paley Baildon’s drawing
A simple plain cup-marked stone which Boughey & Vickerman (2003) reckoned to have 14 of the little babies etched on its surface. Ninety years earlier, the reliable Mr W.P. Baildon (1913) — who seems to have been the first person to describe this carving — showed there to be 15 cups when he came here.
This was one of the many carved rocks that astronomer Gordon Holmes (1997) looked at in his attempt to give a celestial explanation for the designs. Not too sure misself…
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Holmes, Gordon T., 2000 BC – A Neolithic Solstice Odyssey, SASRG Press 1997.
From East Morton village, take the moorland road, east, and up the steep hill. Where the road levels out there’s a left turn where a trackway leads onto the moor. Go up here & keep walking till you hit a moorland ‘footpath’ signpost. Stop here and walk due west (your left) onto the gently sloping rise and into the mass of the Stanbury Hill enclosure system. Keep walking for 200 yards or so, where the land begins to slope down to the end of the spur; and just 50 yards before it drops down to the stream below you’ll find a cluster of carved rocks like the Lunar Stone, the Teaspoon Rock, Spotted Stone, etc, all scattered about. Near these, you’ll find this one!
Archaeology & History
Not to be confused with the carving of the same name on the northern side of these moors (near the Green Crag Slack enclosure), this carved rock gets its name specifically from looking like a lay-out plan of some settlement or enclosure. It’s unlikely that this title or description has anything to do with the carving, but its the impression it gave me when I first saw it! But then once you look at the carving from another angle it takes on a different impression.
Enclosure Carving from above
First thought to have been found by Stuart Feather in 1978, it is one of many carvings that occur in what seems to be an extensive prehistoric enclosure or settlement. There’s a complete cup-and-ring near the western end of the rock, with another distinct cup-marking by its side, and what looks to be a natural cup at the top-end of the stone. But it was the other section of the carving on the central and eastern side which intrigued me: a curious ‘enclosure’ of lines, with a cup-marking in each section. Cutting between the cup-and-ring and the enclosure lines is a natural long crack or fissure running roughly north-south through the rock. It seemed to me (though I could be wrong) that a line had been pecked running along this natural crack — although in Boughey & Vickerman’s (2003) drawing they don’t highlight this. It also seemed that the carved lines from ‘enclosure’ linked up to the pecked line that was carved along the natural fissure in the rock (as illustrated in my crap drawing!).
Shit drawing of CR99
As with the Lunar Stone nearby: it appears that either this stone was carved at different periods; or else for a long period of time much of the stone was exposed to the elements, whilst a section of it remained covered. For the distinct cup-and-ring on the western-end is more worn, with more eroded evidence of pecking, than the extended lines on the eastern end of the rock. I need to go back here and get some better images — and certainly do a much better drawing!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Dead easy! Avoiding Keighley (as common sense dictates), but going to its outskirts, get to the huge Cliffe Castle (tis free) on the northern outskirts of the town. Go inside and look around!
Archaeology & History
Carving in Cliffe Castle MuseumClose-up of cups & rings
Initially located in the ground a few yards south of Dobrudden caravan park amidst a large gathering of other carved rocks, this grand-looking cup-and-ring stone is no longer in situ. As with a several other carvings, this has been on a bittova wander in the last century! It was first uprooted from the Earth and archaeologically transferred to Bradford’s Cartwright Hall Museum sometime after World War 2, where it lived peacefully for a number of years, before being moved to Cliff Castle Museum, where it still lives, quietly (along with another prehistoric carved rock, the Comet Stone, that was nabbed from the uplands near the Roms Law circle).
W.P. Baildon’s 1913 drawing
As we can see from the photos (taken in poor lighting in the museum – sorry…) there are five cup-and-rings with one cup-and-2-rings standing out (plus about another 10-12 cups scattered here and there); though when W. Paley Baildon drew a picture of the stone around 1913, he could clearly see another cup-and-ring etched onto the stone, but this has faded somewhat in the last century. Messrs Boughey & Vickerman (2003) were unable to see it.
References:
Baildon, W. Paley, Baildon and the Baildons – parts 1-15, Adelphi: London 1913-1926.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John, The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Jackson, Sidney, ‘Cup and Ring Boulders of Baildon Moor,’ in Bradford’s Cartwright Hall Archaeology Group Bulletin, 1, 1955.
From East Morton village, take the moorland road, east, and up the steep hill. Where the road levels out there’s a right turn, plus (more importantly!) a trackway on your left which leads onto the moor. Go up this traclk and keep walking till you hit a moorland ‘footpath’ signpost. Stop here and walk due west (your left) onto the gently sloping rise of Stanbury Hill. Keep walking for a 250 yards or so, where the land has sloped gently down to the end of the spur; and just 50 yards before it drops down tot he stream below you’ll find a cluster of rocks scattered about. One of the stones here is this one!
Archaeology & History
This is an excellent carving first recorded, it seems, by Stuart Feather in 1977, as cited in the Yorkshire Archaeology Journal’s ‘Listings’ for 1978. It can be found some 27 yards west of a prehistoric cairn near the top of the ridge (14 yards east of the same cairn is the Spotted Stone carving).
Lunar Stone carvingSoutheast section, with 3 cup-and-rings?
We have to assume that when Mr Feather first located this stone that the faint cup-and-rings on the topmost southeast section of the rock had been exposed to the elements from Day 1, so to speak: as the designs here are quite faint and well-worn. Another not unreasonable assumption is that Mr Feather then proceeded to dig away at the rest of the rock, exposing other features on the stone which had laid under the soil for countless centuries, as the northernmost part of the carving has minimal erosion effects on it. Indeed, unless this is true, we have to start thinking that the carving was made over quite lengthy periods of time, due solely to the greater and lesser effects of weathering on different sections of the stone.
As seen in both the diagram and photos, this is a quite extravagent design. Consisting of several cup-and-rings, aswell as a double-ring, it is found amidst a small cluster of equally impressive, albeit very different carved rocks, all appearing to have a quite specific relationship with death and ritual. This and the other stones are found on the western end of a small serpentine ridge of land (Stanbury Hill), with streams flowing on the north and western sides and small remains of marshland to the south. The geomantic feature here, if relevant, relates to movements between the Earth, water, death and the setting sun: quite potent and important issues in the lives of the neolithic and Bronze Age peoples who lived hereby.
Northern section of carving – with calendrical cups?
The title of this stone carving — the Lunar Stone — should be quite evident: the design has all the hallmarks of celestial lunar movements around the ridge of the heavens; or here, pictured along the edges of the rock (symbolic of the firmament), upon and amidst which the moon travels in its rhythmic motion through the heavens. But don’t take that too seriously: it’s just an imaginative flutter that struck my otherwise distraught inability to know what I’m talking about!
References:
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Head up to the Cow & Calf Rocks and walk to the large disused quarry round the back (west). You’ll notice a scattered copse of old pine trees on the edge where the hill slope drops back down towards Ilkley; and there, two raised hillocks (unquarried bits) rise up where the pine trees grow. The carvings are on the flat rocks atop of one of the two hillocks. If you’re walking up from Ilkley, once you’ve crossed the cattle-grid in the road and the moorland slope opens up above you, just walk uphill towards the copse of trees and watch out for the rock outcrop in the picture here.
Archaeology & History
Very well-known to locals, folklorists and archaeologists alike, the remains of these old glyphs have caught the attention of artists, historians and Forteans alike for the images and tales surrounding them. It was obvious that in times past, that the carved remains that we see today would have extended considerably further, but the quarrying destroyed much of it. Indeed, we’re lucky to have this small section of carved rock still intact!
The rocks were first described as the Hanging Stones in the local parish records of 1645, and their name probably derives from the old-english word hangra, meaning ‘a wood on a steep hill-side,’ which is very apt here. The first known description of the site as possessing cup-and-rings appears to have been in a small article in the local Leeds Mercury newspaper in 1871. Several years later J. Romilly Allen (1879) wrote a lengthier descripton of the site:
“The crags from which these masses have been detached are known by the name of hanging stones, and at their eastern extremity is a large quarry. Between this quarry and the overhanging edge of the cliff a portion of the horizontal surface of the rock was some years ago bared of turf, thereby disclosing the group of cup and ring sculptures shown on the accompanying drawing. It will be seen that the design consists of twenty-five cups of various sizes, from 1 to 3 inches in diameter. Seven of the cups are surrounded by incomplete rings, many of them being connected by an irregular arrangement of grooves. The pattern and execution are of such a rude nature as almost to suggest the idea of the whole having been left in an unfinished state. The sides of the grooves are not by any means smooth, and would seem to have been produced by a process of vertical punching, rather than by means of a tool held sideways.”
Allen and other archaeologists from this period saw some considerable relevance in the position of this and the many other cup-and-rings along this geological ridge, telling:
“The views obtained from all points over Wharfedale are exceedingly grand, and this fact should not be lost sight of in studying remains that may have been connected with religious observances, of which Nature worship formed a part.”
J. Romilly Allen’s 1879 drawing of the carvingsWater-assisted double-ring on eastern rock
A common sense point that seemed long-lost to many archaeologists, adrift as they went in their measurements of lithics and samples of data charts for quite a number of years. In recent years however, this animistic simplicity has awakened again and they’ve brought this attribute back into their vogue. Let’s hope they don’t lose sight of it again!
There are tons of other archaeological references to this fine set of carvings, but none add anything significant to anyone’s understanding of the nature of the designs. We must turn to psychoanthropology, comparative religion and folklore if we want to even begin making any realistic ‘sense’ (if that’s the right word!) of this and other cup-and-rings. Curiously, the nature of this and other carvings is a remit archaeology has yet to correctly engage itself in.
Hanging Stones carving with “twenty-first century informal unauthorised carvings” added
On a very worrying note, we need to draw attention to what amounts to the local Ilkley Parish Council officially sanctioning vandalism on the Hanging Stones, other prehistoric carvings and uncarved rocks across Ilkley Moor. As we can see on a couple of photos here, recent vandalism has been enacted on this supposedly protected monument. Certain ‘officials’ occasionally get their headlines in the local Press acting as if they’re concerned about the welfare of the ancient monuments up here, but in all honesty, some of them really don’t give a damn. The recent vandalism on this stone and others has now been officially recognised as an acceptable “tradition” and a form of — get this! — “twentieth / twenty-first century informal unauthorised carving” and has been deemed acceptable by Ilkley Parish Council as a means to validate more unwanted carving on the moorland “in the name of art”! Of course, their way of looking at this has been worth quite a lot of money to a small group of already wealthy people. But with Tom Lonsdale and Ilkley Council validating or redesignated ‘vandalism’ as “twenty-first century informal unauthorised carvings”, this legitimizes and encourages others to follow in their shallow-minded ignorant footpath, enabling others with little more than a pretentious ‘care’ for both environment and monuments to add their own form of ‘art’ on cup-and-ring carvings, or other rocks on the moors.
Ancient monument with more “twenty-first century informal unauthorised carvings” added
You can see in some recent vandalism — sorry, traditional “twentieth / twenty-first century informal unauthorised carving” — at the top-right of the Hanging Stones photo to the side, a very ornate ‘Celtic’-style addition, akin to the quality carved by well-known stone-mason Pip Hall who, coincidentally, has now been granted a lot of money to “officially” carve her own work on another stone further down the valley from here. With Miss Hall, Mr Lonsdale, poet Simon Armitage and Ilkley Parish Council each playing their individual part in encouraging what is ostensibly vandalism…errr…sorry – I keep getting it wrong – I mean traditional “twentieth / twenty-first century informal unauthorised carving” on the Hanging Stones monument and other cup-and-ring stones on the moor, we can perhaps expect a growth industry in this field…..especially if you’re wanting to make more money for yourself in the name of art or poetry. And if you apply to Rachel Feldberg of the Ilkley Arts Festival, you may get good money for your work… Seriously! (this is no joke either)
Please contact Ilkley Parish Council and other relevant authorities and express your dismay at their lack of insight and concern for the knock-on effects of their decisions on this matter. Other plans to infringe even further onto Ilkley Moor are in the business pipeline…
Folklore
Just underneath the carved overhanging rocks (walk off the knoll to the bottom of the rocks, facing the town), is a small recess or sheltered cavity which, told Harry Speight (1900),has
“From time immemorial (been) known as ‘Fairies’ Kirk’, and traditions of it having been tenanted by those tiny sprites, the fairies, still exist among old people in the neighbourhood.”
Tradition goes on to tell that when the Saxons arrived here, they were wont to build a christian church by the Hanging Stones, but the little people strongly resented this and fought hard against the invading forces. As the Saxons started building the edifice of the new religion, during the night the fairy folk took down the stones and moved them into the valley below. In the morning when the Saxons found this had happened, they carried the stones back up to begin building again; but each night, the fairy folk emerged and again took the stones to the valley bottom again. Eventually, after much hardship, the Saxon folk gave up the idea of building on the Fairie’s Kirk, as it was known, and the church that still remains in Ilkley centre was decided as an easier place to build their edifice.
Traditions such as this (of fairies moving stones back to whence they came, or away from ancient archaeological sites) are found throughout Britain and appear to be simple representations of the indigenous peasant hill-folk who strongly objected to their own sacred sites (rocks, trees, wells, etc) being supplanted by the invading religious force.
In more recent years the observation of curious light phenomena over these rocks have been seen, both over here and the Cow & Calf Rocks…
…to be continued…
References:
Allen, J.R., ‘The Prehistoric Rock Sculptures of Ilkley,’ in Journal of the British Archaeological Association, vol.35, 1879.
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milveton 2001.
Bogg, Edmund, Higher Wharfeland, James Miles: Leeds 1904.
Collyer, Robert & Turner, J. Horsfall, Ilkley: Ancient and Modern, William Walker: Otley 1885.
Gelling, Margaret, Place-Names in the Landscape, Phoenix: London 2000.
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Leeds Mercury, ‘Prehistoric Remains at Ilkley’, 20 April, 1871.
Michell, John, The Earth Spirit: Its Ways, Shrines and Mysteries, Thames & Hudson: London 1975.
Size Nicholas, The Haunted Moor, William Walker: Otley 1934.
Smith, A.H., English Place-Name Elements – volume 1, Cambridge University Press 1956.
Speight, Harry, Upper Wharfedale, Elliott Stock: London 1900.
