A slight walk to get here. Follow the same directions as if you’re going to the Eller Edge 431 carving. Once here, walk west as if you’re going into the middle of the field, keeping your eyes peeled about 20 yards along for a small-ish rounded stone with nice colours of lichen amidst the grasses. If you’re patient, you’ll find it soon enough!
Archaeology & History
This is another simple cup-marked stone on the grassland ridge overlooking higher Wharfedale. The carving here is a little clearer and more well-defined than that of its close neighbours, with a number of simple cups visible on its rounded surface. We counted seven such cups on our cloudy-day visit, but Boughey & Vickerman (2003) thought there might be a little more, describing the stone simply:
from another angleB & V’s drawing
“Small lichen-covered rough grit rock. About eight cups and two depressions.”
A rubbing of this small stone (as practiced by English Heritage and rock art students alike) would prove useful in bringing out any other ingredients in the ancient design. And whilst you’re in this field, have a look at the curious Spiral Stone and some of the other cup-markings close by.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
A slight walk to get here, but well worth it once you arrive! Follow the same directions as if you’re going to the Eller Edge 426 carving. Once you reach this stone, notice the larger rounded rock about 20 yards to your west, a bit further down the field. You can’t really miss it!
Archaeology & History
A large rounded stone just on the meadows before it begins to slope more steeply downhill, there are several of those large natural ‘bowls’ that we see on a lot of cup-marked and not-so-cup-marked stones in our northern hills. These basins or bowls may, at times, may have had significance for our ancestors, but it’s the cluster of cup-markings on this stone which are of importance to us here. There are perhaps as many as a dozen cup-marks here, all very well worn, and mostly to be seen on the eastern sides of the rock. When I came here with Paul Hornby and QDanT a few months back, the cloud cover stayed with us all day, so I didn’t get any decent images of the carving. Ne’er mind…
Close-up of faint cups
The stone was described by Boughey & Vickerman (2003) simply as:
“Very large, uneven, rough grit rock with face with scooped-out areas sloping down to grass. Eleven possible cups and six basins.”
A plain carving, perhaps only of interest to the fanatics amongst you. But if you do visit here, check out carving 432, 431, and others in the same field.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
A slight walk to get here. Follow the same directions as if you’re going to the Eller Edge 426 carving, but as you reach the field edge, walk up the slope (in the field itself) along the side of the wall. You’ll pass rudimentary Carving 431 and about 30 yards further uphill this little fella will catch your eye! You can’t really miss it.
Archaeology & History
Another basic cup-marked stone that’s probably only gonna be of interest to the purists amongst you. A single cup-marking sits on the edge of a small patch of old dark lichen, although the rock art students Boughey & Vickerman (2003) reckon there could be another two on here—but I aint so sure misself. The stone was described by them simply as:
“Medium-sized rectanguar rock of medium gritstone, with vertical edges except for finely striated sloping W side. One cup near possibly quarried edge and perhaps two more.”
Single faint cup-mark
Another single cup-marked stone of the same size, type and quality as this one can be found on another stone not far from this stone, which aint in the Boughey & Vickerman survey. There’s also evidence of ancient lines of walling close by, but with little surface clues as to its age.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Takes a bitta finding this one – especially a this time of year when the bracken’s high – but it’s worth the walk. You’re probably best finding your way to the open-air carving on the slopes above Westcliff Farm, the Guisecliff Wood 626 carving (it’s pretty easy to find). From here, walk eastwards across the top of the two fields until you hit the old gate that take you back into the woods. Now it gets difficult! Walk less than 100 yards in the same direction, if you’re lucky, along the small footpath that runs pretty level through the trees, keeping your eyes peeled for a large sloping rock above you. I’d say that it’s probably best to start checking the relevant rocks (large ones) after 50 yards in the trees, just to be on the safe side. If you aint been here before it’s probably best to check it out at the end of Winter or during Spring time. Good luck!
Archaeology & History
As noted by several people in our visit here the other day, some aspects of this carving are similar in design to the Tree of Life Stone on the eastern edge of Askwith Moor, 10 miles south of here. But the features on this large carved rock have intriguing elements of their own here: not least of which is the large square ‘box’ into which a cluster of otherwise normal cup-and-rings are enclosed. It’s a unique feature in prehistoric carvings in this part of the world — although such ‘box’ motifs can be seen further north at Dod Law in Northumberland.
The fainter cup-and-ringsBoughey & Vickerman’s 2003 drawing
There are two distinct sections of carvings on the stone, both of which have a similar tree-motif patterns, but the boxed one grabs your attention more once you’ve sat with the stone for a while. The other small cluster of cups are a little more difficult to notice, but once you see them they almost grow into life! You can just make out the surrounding rings and lines around some of these fainter cups, which I tried to capture in the photos (but without much success).
Our visit here didn’t pass without some voicing the thought that ‘box’ section could have been added at a much later date — perhaps a Victorian addition? But we could be way off the mark with that one!
There’s every likelihood of other carvings being found in and above the woodlands here, though any further exploratory excursions here can wait till winter time, as the Nature’s summer growth here is considerable and covers most of the rocks in green. The carving was first described in Boughey & Vickerman’s (2003) text as a
“Very large rock with extensive flat surface on which there seems to be two separate designs. Seven cups are joined in a branch-like pattern, the whole within a square groove from which the ‘stem’ of the branch just protrudes; away from this is an approximately linear feature with three cups enclosed by linked rings at one end and then six more cups with a partial ring.”
If you’re a rock art enthusiast, or a real healthy heathen, this site is well worth checking out!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Take the same directions as if you’re visiting the Eastwoods Cross base and cup-marked stone, but at Eastwoods Farm itself, walk downhill following the field-wall, past the large house, then through the first gate you come to. (it’s got a ‘private’ sign on it and has some handy bulls in the field – but ask at the house and the folks there are friendly) Following the footpath along the top of the field, cross the small stream, then head across the next field to the gap in the wall. You’re here!
Archaeology & History
Boughey & Vickerman’s 2003 sketch
One of a cluster of cup-and-ring stones around the Bryan’s Wood and Eastwoods area, this carving is well worth a visit, but can be covered in shit and muck as the bulls pass through the gap here on their daily amble. If the daylight isn’t good here, it can be difficult to see the carving – and when we visited the place the other day, the cloud was low and the heavens were ready to open, so our luck was out for a change! There are a number of cup-and-rings plus a double-ring, fading their ways around the more defined cup-markings. The stone appears to have been found in the 1990s, but records of it are scant. Boughey & Vickerman (2003) fail to tell the origin of the name, nor when or who rediscovered the site. Their description of the carving tells simply:
“Large flat smooth rock sloping slightly to E. Thirteen possible cups, one with partial double ring and four with partial single-rings; three ringed cups have grooves leading from them.”
Several other excellent cup-and-ring carvings can be found around here. The hugely impressive Morphing Stone and a prehistoric lightning-carving can be found three fields away to the south, past the trees on the other side of the stream.
Folklore
Close-up of the stone
The title of ‘fertility stone’ seems a modern one, although word has it that it relates to Beltane fertility rites. However, I can find no documentary information relating to this, and the people at Eastwoods Farm and adjacent house know nothing to account for it.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
From Pateley Bridge take the B6265 road towards Grassington, turning left just a coupla hundred yards over the river bridge, towards Bewerley. Go through the hamlet and take the second on the right, up the steep zigzagging lane. A half-mile up the hill, watch out for the track onto Westcliff Farm. Go along here and onto the footpath, then as you walk through the field, look uphill where the long wall runs into the trees, and you’ll see a rock in the walling near the top. That’s it!
Archaeology & History
Just over the edge of the northern section of The Intakes at the western end of Guisecliff Wood, on a large rock in the walling near the very top of the field above Westcliff Farm, we find this little-known but very impressive cup-and-ring stone.
Close-up of some cupsBoughey & Vickerman’s drawing
Upon first sight the rock was aptly described by Danny Tierney as being like a Viking Hogback Stone with cup-markings along the sloping side of the long rock as it grew into the drystone walling. He had a point! It’s a curious carving (how many times do I say that!?), with the majority of the cup-marks and lines etched into the south-sloping face of the rock. Other cups found further down the stone stretch along the eastern side towards ground level; and we have a small line of cups etched onto the normal horizontal face halfway along the stone.
The carving was rediscovered by Stuart Feather in the ‘Sixties and was all-but-forgotten until Boughey & Vickerman (2003) rejuvenated it in their catalogue. They told it to be:
“Large rock of coarse grit lying with long uneven surface E to W, at ground level to S and E, but with high N and W faces. Up to eighty cups but some may be due to pebbles or other natural causes; one cup has two half-rings which, like some grooves visible, suggest a now incomplete design.”
The fascinating ‘boxed’ cup-and-ring stone of Guisecliff Woods 629 can be found less than 200 yards east of here, in the trees, and is certainly worth seeking out!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Feather, Stuart & Hartley, C.E., “The Yorkshire Archaeological Register, 1964: Bewerley. W.R.”, in Yorkshire Archaeological Journal, volume 41, 1965.
Follow the same directions to get to the cup-marked stone on the slope behind Duncroisk Farm. Once here, look up the hillside and about 100 yards above you there’s the fence, and a gate in the fence. Go through that gate and walk uphill for some 20 yards where you’ll meet with a large sheet of flat sloping rock with a stream by its side. The crosses are on this rock sheet at the top left-hand side.
Archaeology & History
Although the stone here is pretty easy to find, the insignia carved on the rock itself can be troublesome to see. The accounts by both Cormack (1952) and Morris (1981) each recommend visiting the site around sunrise, but an hour before sunset is also profitable if you wanna see the design with any clarity. And of course, if you keep the rock-face wet (the adjacent stream is handy here) the carvings stand out even better!
Main section of carvingSolar cross & arrow?
It’s a quite superb carving in a truly superb setting, come rain, shine or mist — but for the cup-and-ring aficionado’s amongst you this one might not get y’ going, as we’re looking at a carving that was probably born of the more recent mythic period. Although there are between two and four faded cup-markings here, the principal designs do not echo the more usual neolithic and Bronze Age carvings scattering this part of Perthshire. Instead we find very worn examples of what have been variously called “solar wheels”, “Greek crosses”, Celtic crosses, etc. We also find simple carved ‘arrows’ at the ends of both natural and man-made lines in the rock; along with very distinct ‘eye’ or vulva symbolism. (Crawford 1957) Added to this is the possibility of human figurines discernible in the carving, very similar indeed to those found in Spain (Kuhn 1956) and elsewhere.
Mr Cormack’s 1952 rubbing of the stone
The site was first described by E.A. Cormack (1952) who wrote the following, (slightly edited) piece:
“Examination of the rough and sloping rock surface revealed an interesting group of inscribed figures, confined to an area of about 8 by 2½ feet, four of which included a cross within a circle. The figures are difficult to discern, except when thrown into relief by early morning sunlight, but are clearly demonstrated on a rubbing.
“The crosses may be described in three groups:
“Group 1 — a) Near the upper edge of the rock is a cross within a circle of 8-inch diameter. The vertical axis of the cross is extended below the circle for 4 inches, resting on an ill-defined rectangular base, and upwards for 5 inches to form an arrow-head with 3-inch barbs. At the junction of the shaft of the arrow with the top of the circle is a pair of contiguous rings of about 1-inch diameter. The cross is deeply cut, to about a half-inch depth, with equal arms 4 inches long and 1 inch broad. The left arm of the cross extends beyond the circle, but this may be due to the circle being slightly excentric in relation to the cross. The lower right quadrant of the circle is marred by a natural crevice in the rock, but careful examination shows that the circle does not cut the right arm of the cross.
b) On each side of this figure is a roughly circular marking, one about 4 inches above and to the left, of 3-inch diameter, and the other 2 inches to the right, of about 5-inch diameter. In each there is an indefinite depression across the centre.
“Group 2 — a) About a foot below and to the right of Group 1 there is a boldly cut cross within a 7-inch circle. Again the vertical arm of the cross is extended above and below the circle, downwards for 5 inches to a curved arrow-head with 4-inch barbs, and upwards as an equal armed 5-inch crosslet above which is a 4-inch circle with the central axis continued through it. (The junction of this axis through the circle with the top of the small cross is slightly angled.) The main cross and circle are cut to fully half an inch in depth and one inch in breadth, but the upper part of the figure is much less distinct.
b) About 8 inches to the left of the upper part of the above figure is a very faintly incised cross within a 2½-inch circle. It is difficult to discern on the rock, but can be seen in the photograph and is very clear on the rubbing. It also appears to have an arrow-head above it.
“Group 3 — a) A foot below and to the right of Group 2 is a clearly cut cross within a 6½-inch circle. A natural cleft in the rock has been used for one axis of the cross, which lies obliquely to the others already described, and this axis terminates in an arrow-head 3 inches below the circle, and another slightly smaller arrow-head is cut 2 inches above the circle; in each case the angle formed by the arrow being towards the circle.
b) Immediately below the last cross is a curious hieroglyph not easy to make out on the rubbing, but clear in the photograph. On an 18-inch vertical axis can be seen from above downwards an arrow-head, an oblique line to the left, a faint 2-inch circle, a transverse stroke, and finally two oblique lines to the right. A natural crevice to the left of the figure rather confuses the picture.”
Ron Morris’ (1981) description wasn’t as detailed and he was initially hesitant about using the site in his rock art survey of the area, as he thought it “most likely to be early christian” in nature and period. He changed his view after talking with an associate at Bergen University, who pointed out that the symbols found here up Glen Lochay were “exactly the same as Norway’s second commonest symbol, the ‘Cross-ring’, which is contemporary with their cup-and-ring series.” Morris described the carvings here as:
“3 ‘cross-rings’ and 7 other rings, some of which have traces of crosses within them. There are also grooves, some extending from a ‘cross’-line to form an ‘arrowhead’, and one group, with ring above, rather resembles a ‘man.’ Largest ring diameter, 20cm (8in) and greatest carving depth, 1cm (½in).”
Examples of the artistic symbolism found at this ‘Duncroisk Crosses Stone’ are scattered throughout western Europe from the Bronze Age period onwards: notably at Dowth and Clonfinloch in Ireland (Brennan 1983; Coffey 1912); Jonathan’s Cave, Fife (Simpson 1867); Valcamonica, Italy (Anati 1961); and all over Norway and Sweden (Coles 2005; Gelling & Davidson 1969; Janson 1966). In more recent times we find these curious symbols etched inside the prehistoric chamber of Ty Illtud (Grinsell 1981) — but these are thought to be later additions. However, the universal nature given to such interconnecting symbols such as those found here is, simply, ritual magick. We find it across the Himalayas, Africa, north and south America – just about everywhere. It would be quite wrong to believe that the presence of an encircled ‘cross’ on this stone relates it to a christian belief system, as such a motif is found in many non- and pre-christian societies with a mythic nature akin to that of the swastika, i.e., of a world unfolding or emerging from a centre-point and the arms of the ‘cross’ outwards defining the directions and boundaries of any specified cosmology: be it landscape, heavens, spirit worlds, pregnant belly, etc.
Solar cross? Eye? Vulva?…or dancing human figure?
As Cormack (1952) described, the respective groups of carvings are integrally linked by an interconnecting line that joins the symbols in the respective groups to the other symbols. The fact that the connecting ‘lines’ are natural is meaningful in the relationship between humans and Nature; but moreover, the connecting line linking the symbols strongly implies sequential reasoning and magickal import. Indeed, these three distinct clusters (see Cormack’s rubbing) are functionally akin to magickal sigils, examples of which are found across the ancient and modern world. This is a notion that must be given serious consideration as a function in the carved stone of ‘Duncroisk 4’. Equally we can see in one section of the carving what may be a dancing human figurine, very much like rock carvings found elsewhere in Europe and beyond.
Both Erich Neumann (1973) and Alex Marshack (1972), for slightly different reasons, would also see the images carved here as early expressions of human development: either through i) the emergence of archetypal patterns and the interpretative interplay of the ego, or ii) the intellectual evolution of magickal appliance, whereby imagery and human action are recognized as meaningful in a wider natural sense. In the case of Duncroisk 4 it would more likely possess magickal import, as symbols were much more than ‘art’ and possessed meaning on several interconnecting levels, one of which being ritual function — an element that modern archaeology is slowly learning to incorporate into its analyses.
Dancing Siberian ShamanDancing shaman figure?
A more in-depth comparative essay is really needed to give a clearer exposition defining the nature of this carving… My personal view is that the carving represents, not some solar design, but one of Britain’s earliest artistic examples of human beings, in this case dancing and beating a drum or bodhran. It may indeed be the earliest pictorial example of a bodhran in the country. I’d say so. There is also the distinct possibility that the dancing figure is a shaman. We have many petroglyphs from all over the world that highlight such a character, integral to all early cultures—and this is as likely a contender as any for such a figure. (see Gough 1999; Whitley 2000, etc) It may however, be a warrior with a shield. You see the problems we can have with these damn carvings! 🙂
Folklore
This carved rock is said by local people to have been where a ‘Celtic’ saint delivered sermons to the heathen populace. The saint concerned is likely to be the one who tradition tells gave his name to the small glen immediately across the track from here: St. Charmaig. Halfway up the small glen is a small cave, barely accessible, with untouched remains of dried roots and other elements of human habitation therein. A few hundred yards to the north in old Finn’s Glen, is the forgotten Waterfall of the Oracle which sometimes isn’t even there!
References:
Anati, Emmanuel, Camonica Valley, Alfred Knopf: New York 1961.
Brennan, Martin, The Stars and the Stones: Ancient Art and Astronomy in Ireland, Thames & Hudson: London 1983.
Coffey, George, New Grange and other Incised Tumuli in Ireland, Dolphin: Poole 1977.
Coles, John, Shadows of a Northern Past: Rock Carvings of Bohuslan and Ostfold, Oxbow: Oxford 2005.
Grinsell, Leslie V., “The Later History of Ty Illtud,” in Archaeologia Cambrensis, 131, 1981.
Janson, Sverker & Westman, David, Rock-Carvings at Fiskeby, Esselte AB: Stockholm 1966.
Kuhn, Herbert, The Rock Pictures of Europe, Sidgwick & Jackson: London 1956.
Marshack, Alexander, The Roots of Civilization: The Cognitive Beginnings of Man’s First Art, Symbol and Notation, Weidenfeld & Nicolson: London 1972.
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR 86: Oxford 1981.Neumann, Erich, The Origins and History of Consciousness, Bollingen Princeton University Press: New York 1973.
Royal Commission on the Ancient & Historical Monuments of Scotland, Archaeological Sites and Monuments of Stirling District, Central Region, Society of Antiquaries of Scotland 1979.
Simpson, James, Archaic Sculpturings of Cups, Circles, etc., Upon Stones and Rocks in Scotland, England and other Countries, Edmonston & Douglas: Edinburgh 1867.
Whitley, D.S., The Art of the Shaman: Rock Art of California, University of Utah Press 2000.
Follow the same directions to reach the superb Badger Stone carving, and from here take the footpath that runs downhill. You’ll cross another footpath about 100 yards down the moor, but just keep walking down the path and you’ll notice the small copse of woods ahead of you. As the footpath begins to swerve roughly away, northeast, heading away from the said woodland, keep your eyes peeled on your left for a reasonably large but flattish rock close to the ground (in summer it’s surrounded by bracken) about 75 yards away. That’s your target!
Archaeology & History
Of the hundreds of cup-and-ring stones on Ilkley Moor and district, this is one of my personal favourites! I first visited the stone in 1977 as a young teenager and was mightily impressed by the unusual nature of the design here — and that impression still remains. Aswell as possessing the usual cups and rings, the Barmishaw Stone is one of just a few rocks also possessing a sort of ‘ladder’ design or linear pattern within the overall carving: an insignia echoed on the nearby Willie Hall Wood carving, the Piper Stone, and also on the Panorama Stones. As with the ‘ladders’ on the Panorama carving, those found here at Barmishaw are very eroded and are increasingly difficult to see during the daytime (the best time to notice them is usually around sunrise or sunset, and particularly when the rock itself is wet).
The carving has been described many times, albeit briefly, by a number of writers. In John Hedges (1986) fine survey he said the following:
“Medium sized flat-topped rock…fairly smooth grit, sloping slightly east to west, covered with carvings, some of which are very worn. Slanting sunshine needed to detect them. About twenty-four cups, at least nine with rings or incomplete rings, two with multiple grooves half round and continuing straight down, one of them incorporating ‘ladder.’ Five other ‘ladders’ – in a good light. Cups mostly deep and clear.” A few years later, Boughey & Vickerman (2003) echoed much of Mr Hedges description, though noted that of the 24 cups with their rings, one possessed a triple ring.
Alan Davies’ illustration
Like so many cup-and-ring stones, they have given rise to hosts of fascinating theories and ideas — one of which is based on mathematics and metrology. In the 1980s, Alan Davies (1983, 1988) surveyed the Barmishaw Stone — and other carvings on Ilkley Moor — to explore the possibility that the cups and rings were laid out according to a basic unit of measure, the Megalithic Inch (MI), as proposed by Alexander Thom some years earlier. Although Davies’ work showed that such a primary unit of measure wasn’t to be found universally, his research at the Barmishaw Stone indicated “significant evidence for quanta of…3 MI,” although this occurred “when the analysis is restricted to only ringed cups.” Despite this, Davies thought that the existence of the Megalithic Inch was evident in this and other carvings on the moors, stating that:
“The repeated emergence of the significance of ringed cups, and the fact that all putative quanta seem to bear a simple numeric relation to each other do not seem to be coincidental.”
However, the selectivity of data in Davies’ research would indicate more that any Megalithic Inches isolated in the metrology of the carvings was due, not simply to chance, but more that the implements used to carve the rocks and the size of the hands of the people doing the carvings was pretty uniform. These simplistic factors need assessing. In modern trials carving cup-markings, we find them to be of similar size to those carved in prehistoric times, as would be expected.
Barmishaw Stone (after Hedges, 1986)Barmishaw stone (after Cowling 1946)
The ladder motif central to this carving may have related to early religious and ritual events here. Across the world, indigenous cultures commonly relate the ‘ladder’ to be a symbol of ascension, both by shamans, mystics and during rites of passage. The symbol represents the journey of the soul to and from supernatural realms. To discount this possibility at the Barmishaw Stone would be shortsighted.
The carving was very probably painted when our neolithic ancestors gathered here, much as Australian aborigines still do to their carvings using lichens and other plant dyes, with the respective ladders and lines changing colour where movements between worlds or shifts of attendant spirit occurred. By virtue of the its very name, I consider this rock to have been considerably important; the “ghost” aspect to barmishaw being a typically misconstrued aspect of ‘spirit’.
Folklore
This excellent cup-and-ring marked stone probably derives its name from the old dialect words “barm i’ t’ shaw”, meaning “ghost in the wood” stone. Whatever guise the attendant spirit of this rock may have had has long since been forgotten; though spectral accounts from the beginning of the nineteenth century until modern times may give us clues. There have been several reports of green-coloured elemental creatures around the area between here and the White Wells sacred spring a short distance to the east. The most recent account, from 1987, took on the modern mythic form of a little green man from space, with attendant UFO to boot! The Barmishaw Hole nearby was a place where faerie-folk used to live. Excesses of geological faulting and water makes the magickal nature of this place particularly potent.
…to be continued…
References:
Allen, J. Romilly, “The Prehistoric Rock Sculptures of Ilkley,” in Journal of the British Archaeological Association, volume 35, 1879.
Allen, J. Romilly, “Notice of Sculptured Rocks near Ilkley,” in Journal of the British Archaeological Association, volume 38, 1882.
Bennett, Paul, “Cup-and-Ring Art”, in Towards 2012, volume 4, pp.83-92, 1998.
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milverton 2001.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Cowling, E.T., ‘A Classification of West Yorkshire Cup and Ring Stones,’ in Yorkshire Archaeological Journal 1940.
Cowling, E.T., Rombald’s Way: A Prehistory of Mid-Wharfedale, William Walker: Otley 1946.
Davis, Alan, ‘The Metrology of Cup & Ring Carvings near Ilkley in Yorkshire,’ Science Journal 25, 1983.
Davies, Alan, ‘The Metrology of Cup and Ring Carvings,’ in Ruggles, C., Records in Stone, Cambridge University Press 1988.
Eliade, Mircea, Patterns in Comparative Religion, Sheed & Ward: London 1958.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Wright, Joseph, The English Dialect Dictionary – volume 1, Henry Frowde: Oxford 1905.
Get yourself to the impressive multi-ringed Greystone Allotment carving, then walk to the copse of trees close by and bear left, following the edge of the fence along and following it when it turns down at right-angles, until you hit the bottom corner of the trees, where a path cuts in front of you. From the bottom corner of the trees walk 25-30 yards diagonally away from the trees. It’s under your nose somewhere damn close!
Archaeology & History
This is another archetypal cup-and-ring stone, similar in size and design to the recently discovered Slade (02) carving on Blubberhouses Moor, just over 4 miles (6.5 km) northwest (followers of Alexander Thom’s megalithic inch theory might be interested in assessing the measure of these two). It is one of number clustered in and around this small grass ‘moorland’ region, where a number of carvings perished in the 19th century. Thankfully this one survived. Boughey & Vickerman’s (2003) brief notes on the stone tell:
“Small, rough grit rough of regular oblong shape set very low in turf. Two cups, each with a ring, and connected by a groove.”
On a recent visit to see this carving, Danny Tiernan, Paul Hornby, James Elkington and I were unable to locate it. The carving may well have been destroyed, or moved. If anyone is aware of what has happened to this petroglyph, please let us know. We will be contacting the local authorities to see if any explanation is forthcoming from them.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, West Yorkshire Archaeology Service 2003.
Same directions as the Slade 01 carving. But once you reach the upstanding stone cairn on the rocky hill, walk 220 yards (less than 200m) WSW and look around. You’re damn close! If you find the large cup-marked Slade 03 carving, walk back east about 10-20 yards and you can’t really miss it!
Archaeology & History
This is just one of at least seven previously undiscovered carvings on this section of moorland – and it’s worth looking for! The two other names we gave it — ‘owl’ and ‘sunset’ — come from the very notable design: owl thanks to it having the appearance of large owl-like eyes, and sunset as the two cup-and-rings are etched on the western edge of the rock and, when we found it yesterday, the sun was setting (albeit to the NW) and the image prompted talks of setting suns, the land of the Dead and other such worldwide indigenous religious myths (Harvey 2000) — for without recourse to such ingredients, these carvings are vacuous archaeocentric museum pieces and nothing more. And this carving at least deserves much more than mere cataloguing! The internationally renowned archaeologist, O.G.S. Crawford (1957) would have entered this carving into his ‘eye’ and ‘owl’ motif, representative of goddesses or spirit-forms, as would Gimbutas. (1989)
…and from above
But this carving is archetypal, as we can see, though would appear to have no other etched features on the stone’s surface. It is very close (if not within) the prehistoric graveyard that is plainly evident 30-40 yards south in the burnt heather and would very likely have had some mythic relationship with the dead (a symbiosis we have found in many cup-and-rings). We plan further ventures here in the coming weeks in the hope that we can unearth other prehistoric remains.
References:
Crawford, O.G.S., The Eye Goddess, Phoenix House: London 1957.
Gimbutas, Marija, The Language of the Goddess, Harper Collins: New York 1989.
Harvey, Graham (ed.), Indigenous Religions, Cassell: London 2000.
