Dead easy. Take the A170 road from Pickering to Thornton-le-Dale and as you go into the large village, you’ll hit the old crossroads with the village green. Here be your cross!
Archaeology & History
Shown on the 1854 OS-map, I first came across a description of this old site in Creaser & Rushton’s (1972) scarce but lovely little work on the history of the old village here, where they told that,
“A cross has stood here since John de Eston in 1281 had the grant of a Tuesday market and two yearly fairs. It was repaired in 1820. Every year, the Abbot of Whitby unloaded 1500 red and 1500 white herrings here from his packhorse ponies for transhipment to the Master of St. Leonard’s Hospital at York.”
Or at least, that’s what he got folk to write down in the record-books! Close by were the old village stocks of the village (whose usage should be resurrected in many parts of this country nowadays).
References:
Creaser, A. & Rushton, J.H., A Guide and History of Thornton-le-Dale, Pickering, Yorkshire, E. Dewing: Pickering 1972.
A wonderful site, though a bittova walk for city-minded folk. Head up the road from Riddlesden, Keighley, towards the southern edge of Rombalds Moor and keep going till you reach the road which surrounds the moor (called Silsden Road). At the T-junction in front of you is a path which takes you onto the fields and moor. Go over the stile and walk straight up the steepish field that follows the straight line of the forest, all the way to the top. Climb over the wall on your left when you reach the top of the tree-line, walk past the triangulation pillar for 100 yards or so till you hit the end of the walling before it drops back into the trees. The carving’s under your nose!
Archaeology & History
Rivock Edge’s ‘Wondjina’ carving
The name of this carving is based on a first impression I got of it when I came here as a young lad, still in my teens. The ‘Wondjina’ is a name given to primal aboriginal spirits whose images are etched and painted on rock surfaces in various parts of Australia (usually rock overhangs or in caves). Don’t ask me why, but that was the impression I first got of this stone — and it’s something that stays with me. Some archaeo’s won’t like the association such mythic ancestral beings may have upon people’s notions of cup-and-ring art, but they tend to be the ones who have little educational background regarding the animistic nature of rocks in traditional and peasant societies: ingredients that are integral to these ancient carvings, as research worldwide clearly shows.
The carving was first described by our old Yorkshire historian Arthur Raistrick (1936) in an early essay on Yorkshire rock carvings; and then again in a later article by Stuart Feather. (1961) The primary design is of a large single cup-and-ring at one end of the rock, with a series of seemingly unbroken lines reaching up (or perhaps moving away) from the cup-and-ring. A long central line runs through the middle of the Wondjina ‘being’, which initially seems to have been a series of cups linked by this line; though these cups (at least four of them) have eroded over time and are difficult to see without good sunlight. What seem to be several other very eroded cup-marks are also found on two of the other long lines. These can be made out in the photograph here.
Close-up of lines & cup-marks
Another carving is on the stone right next to this one (2ft away) and there are several other cup-marked stones to be found along the same ridge (carving numbers 058, 059, 060, etc). And for those of you into landscape archaeology, take the position of this carving into consideration. The view from here is quite superb and on clear days a number of prominent hills and important mythological landscape features stand out. To those of you who think such things unimportant or of little relevance in the mythography of our ancestors — you’ve a lot to learn! Otherwise, a visit to this carving and its associates is well worth a trek!
References:
Bennett, Paul, ‘The Prehistoric Rock Art and Megalithic Remains of Rivock & District (2 parts),’ in Earth, 3-4, 1986.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Feather, Stuart, ‘Mid-Wharfedale Cup-and-Ring Markings: Nos. 7 & 8, Rivock Edge,’ in Cartwright Hall Archaeology Group Bulletin, 6:8, 1961.
Hedges, John (ed.), The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Raistrick, Arthur, “‘Cup-and-Ring’ Marked Rocks of West Yorkshire,’ in Yorkshire Archaeology Journal, 32, 1936.
Dead easy to find this one! Get to the Cow & Calf Hotel and walk up the slope onto the moor ahead of you. If you want a direction-pointer, head for the large, seemingly overhanging rocks which are the Pancake Stone, at the top of the ridge, but a few hundred yards to the right (west). Once you reach the level on the moor proper, you’ll see this large haystack-shaped boulder close by. That’s it!
Archaeology & History
This tends to be one of the spots I stop at when doing my tourist walks, to i) let folk get their breath back after ambling from the car park, via Hanging Stones and Map Stone; ii) to drink in the view, and, iii) to begin acquainting themselves with the landscape as it was when this stone was carved (over many decades, perhaps longer), and the animistic cosmology underlying people’s notions of their land. It can be quite an education…
Haystack Rock crushes local manFertility symbol, or Rorschach response?
The Haystack Rock was a very important boulder in the mythic landscape on this plain. It stands near the western end of the Green Crag Necropolis: a huge area of land on these moors where, quite simply, the people of these hills laid their dead. Effectively, the Haystack Rock stands on the edge of Ilkley Moor’s “Land of the Dead”.*
Highlighting this quite firmly, we find that prehistoric walling ‘separates’ this great boulder from the other part of the Plain close to its east and southern sides (walling on its western side is as yet unproven). It was a boulder that was specifically sectioned-off, away from any tombs. All along this Plain are numerous small cairns, many with rock-art nearby, and certain parts of the Plain are split into sections by ancient walling (though a precise map of the walling, tombs and rock-art on this moorland ridge has yet to be done).
J.Romilly Allen’s 1879 images
As far as the textbooks are concerned, we find the first mention of this great carved boulder came from J. Romilly Allen at the end of the 1870s. By 1900, a number of people had been here and written of its grandeur; but, as with cup-and-rings in general, its non-linear form and design elicited the usual notions of bewilderment, druids and puzzled ideas. Much like today really!
Drawing of the central design (after Hedges, 1986)
But this is a big and decent carving, with about 60 single cup-markings, 10 cup-and-rings, and various twizzly grooves and lines linking cups to others, and others going to seemingly nowhere. Some of these lines, of course, may be weathering, or weathered channels emerging from once shorter lines. We might never really know for sure what the original carving actually looked like. On the north-facing side is what looks like a decidedly human figurine etched onto this great boulder, in good old cup-and-ring style. I’ve shown this to a few hundred people and they all seem to make the same remark: it’s a woman with her legs wide open — an early form of sheela-na-gig on Ilkley Moor no less! But whether this was intentional (many folk think so), or just us seeing something we want to see (men in particular!), we might never know.
Ancient cup-marks with vandal marksMore cup-and-rings with vandal marks
The black-and-white illustration above that shows what seems to be just about all elements of the carving in considerable detail, may well be accurate, but it’s nothing compared to seeing the carving first-hand. When it comes to ancient rock-art, detailed drawings are one thing, but the real thing is altogether much much better! Check it out and see for yourself…
Folklore
I’m not too sure what credibility we should give to Nicholas Size’s (1934) extravagant claims, but this was one of the sites he alleged to have seen visions of druidic rites and ghostly figures!
References:
Allen, J. Romilly, ‘The Prehistoric Rock Sculptures of Ilkley,’ in Journal of the British Archaeological Association, 35, 1879.
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Chieveley 2001.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock art of the West Riding, WYAS: Wakefield 2003.
Hedges, John, The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Size, Nicholas, The Haunted Moor, William Walker: Otley 1934.
* It’s gotta be pointed out that Ilkley Moor’s ‘Land of the Dead’ extends much further than just the Green Crag. Much of the extended land above here to the south was an important area, where at some places rites of the dead were performed. The supposed ‘settlement’ nearby (as well as the lesser known one on the moor west of here, on the moor above Ilkley Crags, near Cranshaw Thorn Hill) was likely to be a place where the dead were rested for a period. But more about that in the section on the Green Crag Settlement…
Best visited in winter and spring – thereafter the vegetation can hide it a little – but even then, it’s not too hard to find. Start from the Cow & Calf Hotel and walk across the road onto the moor, and head over as if you’re gonna walk above the Cow & Calf Rocks, onto the moorland proper. When you’ve gone a few hundred yards, walk up the slope (there are several footpaths – you can take your choice). Once on the ridge on top of the moor proper, you’ll see the Haystack Rock: it’s on the same ridge, right near where the moor drops down the slope about 250 yards west of here, just about next to the footpath that runs along the edge. Look around!
Archaeology & History
Unlike some folk who’ve seen this old stone, I find this carving superb. Its one of my favourites up here! Its alternative name – the Planet Stone – perhaps lends you to expect something more, but this is down to the astronomer who thought this was some type of heavenly image (which is most unlikely). I prefer to call it the ‘Map Stone’ because the correlates this carving has with indigenous aboriginal cup-and-rings is impressive and — to Aborigines anyway — would have all the hallmarks of a map. But not a ‘map’ in the traditional sense of modern humans. The incidence of cups and rings linked by curvaceous lines, typifies routes between water-holes or settlement spots made by ancestral beings — which is just what we find at this carving here. These ancestral beings need to be seen in a quite mythic sense: they may be creation deities (giants, gods, etc), animal spirits, the routes of shaman spirits, or other expressions of homo-religiosus.
Map Stone (note the carved line along the very edge of the rock)…and again from another angle
In the Map Stone here, we see that the very edge of the rock (fig.2 & 3) is ‘encircled’, perhaps (and I say perhaps) symbolic of the edge of the world. The lines and rings upon the top of the rock may symbolize journeys to and from important places. Another impression I get of this carving, with the “map” idea, is that the large pecked diamond-shaped ‘cup’ near the middle of the carving is a large body of water around which the archaic routeways passed. The next time anyone visits this stone, have a look at it with this idea in mind. Its simple, straightforward and makes sense (mind you – that doesn’t mean to say it’s right!).
The first account I’ve found of this comes from the pen of J. Romilly Allen (1882), where this stone “measuring 5ft 3in by 5ft, and 1ft 9in high” was described thus:
“On its upper surface, which is nearly horizontal, are carved thirteen cups, varying in diameter from 2 to 2½ in, eleven of which are surrounded by rings. There is also an elaborate arrangment of connecting grooves.”
Although we can only work our nine cup-and-rings here today, Mr Allen seemed suitably impressed with this old carving. Stan Beckensall (1999) seemed to have a good feel of this design too, describing it thus:
“Two thirds of the surface of this earthfast sandstone have been used in a design that partly encloses the marked part of the rock with long curvilinear grooves along its edge, and the inner grooves link single rings around cups. The effect is one of inter-connection and fluidity.”
The Map, or Planets Stone (after Hedges 1986)
The Map Stone was also looked at to examine the potential for Alexander Thom’s proposal of a megalithic inch: a unit of measure speculated to have been used in neolithic and Bronze Age times for the carving of cup-and-ring stones. Using nine other carvings on these moor as samples, Alan Davies (1983, 1988) explored this hypothesis and gave the idea his approval. However the selectivity of his data, not only in the carvings chosen, throws considerable doubt on the idea. Unfortunately the idea doesn’t hold water. The ‘geometry’ in the size of cup-and-rings relates more to the biometrics of the human hand and not early scientific geometry, sadly….
References:
Allen, J.R., ‘Prehistoric Rock Sculptures of Ilkley,’ in Journal British Arch. Assoc., 35, 1879.
Allen, J.R., ‘Notice of Sculptured Rocks near Ilkley, with some Remarks on Rocking Stones,’ in Journal British Arch. Assoc., 38, 1882.
Allen, J.R., ‘Cup and Ring Sculptures on Ilkley Moor,’ in Reliquary Illus. Archaeology, 2, 1896.
Beckensall, Stan, British Prehistoric Rock Art, Tempus: Stroud 1999.
Boughey, K.J.S. & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Exeter 2003.
Collyer, Robert & Turner, J.H., Ilkley: Ancient and Modern, William Walker: Otley 1885.
Cowling, E.T., Rombald’s Way, 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 1988.
Hedges, John, The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Alan Davies’ image of the carving – with carved ‘lake’ near centre
Various ways to get here. I s’ppose the easiest is from Dacre village. If you go just past Sunny House, take the footpath on your right & walk along it, roughly straight across a number of fields, until you hit the footpath known as the Nidderdale Way. The field you’re now in should be scattered with numerous rocks all over the place (if it aint, you’re in the wrong place), reaching down towards the trees. Walk straight towards the trees for another 100 yards and the carving is somewhere hereabouts under your nose! You’re very close! If, however, you decide to walk up the Nidderdale Way from Dacre Banks, the field you need is the one immediately to your right just before you reach the Monk Ing Road trackway. The Tadpole Stone (or Eastwoods Rough II carving) is in the same field, close to the Nidderdale Way path — check that out aswell!
Archaeology & History
This is a large carving I found in April, 2006, in the company of rock-art student Richard Stroud (who sent us the pictures). Twas in the midst of a fine day wandering about checking some of the ‘known’ sites in the area, when we happened across two or three previously unknown sites — and as the day wore on, just before we were gonna head for home, this little beauty poked the edge of its head out of the turf! It had the pair of us in near rapture, with numerous “Wow’s” and excitable expletives coming from our mouths! We’re easily pleased us rock-art doods — but then it is a beauty when you first see it.
We came here several times in the weeks following its initial discovery, and it seemed that on each visit, we found an additional aspect to the carving. It seemed to keep changing each time we came here — hence the name ‘Morphing Stone’!
The prime feature in the carving is the very large oval-shaped ‘ring’ with huge carved bowl in the middle and several outlying cups-markings around it. Although it’s not plain to see in the photos, there’s a large tongue-shaped protuberance jutting out from one side of the main ringed feature. You can also see a small cluster of cup-marks on the top-right of the rock: from here — though it isn’t easy to see in the photo — a long straight line links up with the edge of the major central ring. Other lines run off on the top of the main feature and there are several other cup-markings on different parts of the stone. It’s obviously best to see the carving “in the flesh”, so to speak, to get a good impression of what it actually looks like. And, to those of you who might wanna venture up here, there are several others nearby.
A year or two after rediscovering the carving, rock art student Keith Boughey (2007) described the stone, saying:
“Measuring 2.61m from N-S and 1.88m from W-E at its greatest extent, the carved surface carries quite a complex design… At its N end is a large cup/basin with an approximate diameter of 25-30cm, surrounded by a ring that may or may not be complete: 2 cups have been incorporated into the ring on its N and W side. W of this ring a groove leads off S to a further possible cup. On the E side of the large central cup are 3 further cups of varying size. These motifs are all enclosed within a wide groove, which forms almost a dome pattern. Out of the ring, a further groove runs NW out of the design, bisecting the enclosing groove, curving round to form a handle shape before running back in towards the large central cup. The groove shows signs of continuing E towards the edge of the stone. Just outside the W edge of the enclosing dome is one well-defined cup. S of this, in a slight depression, are 2 further cups of differing size. A straight groove appears to run SW out of the enclosing dome shape on its E side towards further motifs on the stone’s S side. The groove may run into an area of cup marks, but there appears to be a break before it continues. When exposed, the carvings looked quite fresh and sharp, suggesting that they had remained covered for some considerable time – possible since antiquity or at least from a time in the prehistoric past when cup-and-ring-markings had begun to lose their significance and were no longer required to be visible in the landscape.”
To those of you who like the new computer images of cup-and-rings, the three below are samples from a number of such images done after the stone had been discovered. Intriguingly, the long line running between the cluster of cups to the large cup-and-ring doesn’t show up too well; but the barely perceptible line running out, zigzag-fashion, from the large central cup-and-ring, shows up much clearer than when looking with the naked eye.
Although cited as being on Weston Moor, it is closer to Askwith village. From the village, take the north road and shortly before reaching the T-junction, park-up (somewhere!). There’s a small copse of trees on your right and fields above them – that’s where you’re heading. You might have to bimble about a bit before the rock catches your attention, but it’s worth the wandering. Look around!
Archaeology & History
Sketch of the design c.1985
This is an excellent, archetypal cup-and-ring stone that’ll be loved by any real rock art student! Cups-and-multiple rings are the main visual feature to this stone, along with another 20 single cups and another primary cup-and-ring, all on a medium-sized sloping rock face. The carving was first described by Cowling & Hartley (1937). Since their initial discovery, several other writers have mentioned it with little further comment. The smaller but impressive double cup-and-ring carving 543 can be seen at the bottom left of the woodland in front of you – well worth seeing if you’re visiting here!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, West Yorkshire Archaeology Service 2003.
Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
Cowling, E.T. & Hartley, ‘Cup-and-Ring Markings to the North of Otley,’ in Yorkshire Archaeological Journal, 33, 1937.
Hotham, John Paul, Halos and Horizons, Hotham Publishing: Leeds 2021.
Follow the same directions for the Ellers Wood 614 and 618 carvings, as it’s nearby. The best way to check them out is simply to walk down past the haunted Dobpark Lodge, where it turns into a footpath and then when you reach the lovely old packhorse bridge at the valley bottom, walk upstream for 3-400 yards until you reach the next small wooded region. Once there, look around…..
Archaeology & History
Ellers Wood is at the very northern edge of the beautiful parish of Askwith and has a very particular ambience of its own. The small cluster of at least 5 cup-and-ring stones in this lovely little woodland gives you the impression that they stood out on their own, living here respresenting the genius loci of this luscious watery vale, all-but-hidden from all but the lucky few.
Cowling’s 1937 sketch1991 sketch of CR-619
Beautifully preserved, this carving was first described in an article by Cowling & Hartley (1937), then included in Cowling’s Rombald’s Way (1946). As with the other cup-and-rings close by, the characteristic grouping of certain cups is here focused into three sections by enclosing rings. This was something I used to call ‘central design’ features, which occur in different locales with their own individual geographical patterns/structures. These central designs are non-numeric in nature, though have a tendency to cluster in patterns of 2, 3 and 4. (I need to write a decent essay on this to outline what I’m on about with greater clarity!)
References:
Boughey, K.J.S. & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Exeter 2003.
Cowling, E.T., ‘A Classification of West Yorkshire Cup and Ring Stones,’ in Yorks. Arch. Journal 1940.
Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
Cowling, E.T. & Hartley, C.A., ‘Cup and Ring Markings to the North of Otley,’ in Yorks. Arch. Journal 33, 1937.
Grainge, William, The History and Topography of the Forest of Knareborough, J.R. Smith: London 1871.
Grainge, William, History and Topography of the Townships of Little Timble, Great Timble and the Hamlet of Snowden, William Walker: Otley 1895.
Follow the same directions to reach the other Ellers Woods carvings, staying on the western-side of the river close to where it meets with Snowden Beck, just north of the footpath. Check it out in winter and early Spring — any later in the year and it might be a little overgrown.
Archaeology & History
A truly lovely, lichen enriched carved rock in a lovely little part of the Fewston valley. The place has a distinct genius loci that’s very different from its carved rock companions on the moorland hills a short distance away. As I’ve said elsewhere: the surroundings of trees and richer fertile growth is something we must remember to ascribe to these carvings when we encounter them, as the landscape in places such as Ellers Wood is much closer to the scattered forested landscape that profused when first these stones were inscribed.
Section of CR-618
First described by Cowling & Hartley in 1937, it was later included in Cowling’s (1946) more extensive prehistoric survey of mid-Wharfedale. There may be as many as 38 cup-markings cut onto the rock here, along with several lines and grooves. A meditative dreaming site indeed…
References:
Boughey, K.J.S. & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Exeter 2003.
Cowling, E.T., ‘A Classification of West Yorkshire Cup and Ring Stones,’ in Yorks. Arch. Journal 1940.
Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
Cowling, E.T. & Hartley, C.A., ‘Cup and Ring Markings to the North of Otley,’ in Yorks. Arch. Journal 33, 1937.
Grainge, William, The History and Topography of the Forest of Knareborough, J.R. Smith: London 1871.
Grainge, William, History and Topography of the Townships of Little Timble, Great Timble and the Hamlet of Snowden, William Walker: Otley 1895
From Keighley town centre, head north towards Cliffe Castle, but turn left beforehand and along Hollins Lane. Go past Hollins Hall for a few hundred yards and then through the gate on your left, then straight up the steep hill to the small woodland at the top. On the OS-map it’s shown as ‘Great Snowden.’ You’re here!
Archaeology & History
A standing stone found recently by Lindsay Lockwood to the west of Keighley, albeit on supposedly private—ahem!—land (a number of old locals tell you, quite rightly, to ignore this selfishness; but be careful of the land-owners here, who can be quite miserable). Tis less than four-feet tall but with a very noticeable female genital carving on its top western face. This carving however, is perhaps 200 years old at the very most. It’s in a quite beautiful setting aswell…
The Yoni or Cunt Stone, UtleyBuddhist scholar Steve Hart fondling the stone
What may be the remains of an old hut circle, or an old drained-out pond (a big difference, I know!), can be found about 100 yards northwest, and one – possibly two – ‘cairns’ can also be found in the scattered trees immediately to the northeast. An old ‘druid’s bowl’ (natural cup-marking into which rain-water collects) can also be seen on an adjacent earthfast boulder. Some folk might wanna allege a bullaun, but it’d be pushing it a bit I think. More recent walling and what appears to be stonework from more recent centuries (medieval) appears evident close by. Whilst below the hill we have the recently discovered Dragon Stone cup-and-ring carving just a few hundred yards away.
The setting is not unlike the beautiful little standing stone of Tirai on the slopes of Glen Lochay, where amidst the recently deserted village the short squat standing stone is found. You get the same sorta feeling of more recent going-on with this site aswell.
The carved ‘cunt’ gives an even more intriguing thought as to what the stone was used for, around Beltane perhaps, by folk like misself and other straightforward doods!
I wasn’t sure exactly what to call the stone after Lindsay had found it. However, due to the carved minge near the top, it seemed right to give the stone a name relative to the carving — and as we have a Devil’s Cunt in the Netherlands, I opted to call it something similar.* Although ‘cunt’ is an old European word for ladies’ lovely parts, the word ‘Yoni’ is an eastern title, which has become very acceptable in Western parlance. In recent years there has emerged a distinct aversion to using our own, old word for female genitals (indicating how detached people have become from even their own roots).
* of the name ‘cunt stone’: the word cunt itself, as explored eloquently in the fine study by Peter Fryer, Mrs Grundy: Studies in English Prudery (Corgi: London 1965), was the acceptable term for ladies’ genitals in the days when this carving was evidently done, so thought it a most applicable title.
If you wanna find this, get onto the Low Plain north of the Dobrudden caravan park and its about 10 yards off the path running north from there, not too far from the other Baildon Hill carvings. Scramble about a bit & you’ll find it.
Archaeology & History
W. Paley Baildon’s early drawing
Don’t ask me why, but I really like this carving. It’s one of the many I first saw on these moors when wandering about up here when I was 10-12 years old — and they had an effect on me. I call this one of the “primary design” stones, i.e., a number of CRs on this moor (and everywhere else for that matter) appears to have a central design feature. (I’ll point out the others as I post ’em) Some folk think it’s just the slant of the local rock-artist…I think it’s summat a bit different… Local astronomer Gordon Holmes (1997) found a similar pattern here and thought they may have represented star formations, but this is unlikely.
It was first described and illustrated by W. Paley Baildon (1913), way before Mr Jackson (1955) resurrected its attention for archaeologists.
References:
Baildon, W. Paley, Baildon and the Baildons (parts 1-15), St. Catherines: Adelphi 1913-26.
Boughey, K.J.S. & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Holmes, Gordon, 2000 BC – A Neolithic Solstice Odyssey, SASRG 1997.
Jackson, Sidney, ‘Cup-and-Ring Boulders of Baildon Moor,’ in Cartwright Hall Archaeology Group Bulletin, 1:7, 1955.
