A slight walk to get here, but well worth it once you arrive! From Appletreewick, take the road east through Skyreholme and up Skyreholme Bank track, bearing right at the fork in the tracks along the ancient Forest Road. Keep going and after a couple of zigzags, you’ll cross the Larnshaw Beck. Keep walking along the track until it runs wallside — and here, go straight down the field for 75 yards (best climbing over the rickety wooden bridge by the stream 50 yards back and walking up). Although there are a number of other stones hereby, you can’t really miss this.
Archaeology & History
This carved stone and its close associates rest upon the green slopes overlooking the Blands Valley and further across upper Wharfedale and the lands beyond. The majestic Simon’s Seat rises on the nearby western slope and there in the greater distance, once more reaches the sacred hill of Pendle, with whom so many other ancient sites commune within our northern lands. It’s hard to say for sure that the Witch’s Hill was of little relevance to this and other stones, but only a fool would ignore the geomancer’s notes about this constant.
The carving here doesn’t give much clues in any direct sense either. We have an almost arrowhead-shaped rock with a dozen decent cup-marks or so cut along and near its western side; but the notable curiosity here is the small circular cluster of smaller cup-marks dotted in a near circular mass near the middle of the stone.
When Danny, Paul and I came here the other week, the initial impression of this cluster was one of a primitive solar symbol etched onto the rock; but the more we looked, the more it seemed that these small cups appeared to have been arranged in a very rough spiral lay-out. Now I know that spirals are damn rare items in rock art (especially in this part of the world), but the more we looked and then subsequently checked Boughey & Vickerman’s (2003) illustration, the more evident it became. Of course the ‘spiral’ could be merely fortuitous, but I’m not so sure misself. In discussing this with our field archaeologist later, he suggested getting a rubbing of this part of the stone on his next visit.
The stone was first described by the petroglyph explorer Stuart Feather (1964) and later described by the rock art students Boughey & Vickerman (2004), simply as:
“Large, rough grit rock with face sloping SE down into grass at N. About twenty cups to W, with three grooves at N corner and group of about twenty small cups at NE.”
A very intriguing carving. And if you visit here, make sure you check out carving 424 and others in the same field.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Come out of Ilkley/bus train station and turn right for less than 50 yards, turning left up towards White Wells. Go up here for less than 100 yards, taking your first right and walk up Queens Road until you reach the St. Margaret’s church on the left-hand side. On the other side of the road, aswell as a bench to sit on, a small enclosed bit with spiky railings all round houses our Panorama Stones.
Archaeology & History
J.R. Allen’s 1879 drawing
There were originally ten or eleven carvings that made up what have been called the Panorama Stones and the position they are presently housed in this awful fenced section wasn’t their original home. They used to live a half-mile further up from here, on the moorland edge, just in the woodland at the back of the small Intake Reservoir in the appropriately named Panorama Woods. But in 1890, one Dr. Little — medical officer at Ben Rhydding Hydro — bought the stones for £10 from the owner of the land at Panorama Rocks, as the area in which the stones lived was due to be vandalized and destroyed. Thankfully the said Dr Little was thoughtful and as a result of his payment he had some of the stones saved and moved into the position where they live today. However, as a result of the stones being transported closer to Ilkley, the largest of the carvings was damaged and broken in two pieces on its journey, but the good doctor and his mates restored the rock as best they could before sitting it down in the caged position where it remains to this day.
Thankfully there remain a couple of carved rocks in situ in the trees near where these companions originally came from — though they’re completely overgrown. We uncovered these carvings (one of which was quite ornate) when we were children, but this is now overgrown again and hidden from the eyes of the casual forager. The original position of these carvings was obviously an important feature to our ancestors, but such aspects are of little relevance to industrialists and those lacking sacred notions of the Earth. The same geological ridge on which the Panorama Stones were originally found, stretching west along the moor edge from here, possesses a number of other fascinating carvings, not least of which is our Swastika Stone.
J.T. Dale’s 1880-ish drawingT.Pawson’s late-1870s photo, showing faint ladder marks
It seems they were all first recorded by one J. Thornton Dale, who did some fine illustrations of each stone, which were then collected and organized by a certain Dr. Call of Ilkley in 1880 as a ‘Collection of fourteen drawings of cup-marked rocks.’ These were on file at Ilkley Library (or at least used to be!) and as they’ve not been published previously, I think they need to be retrieved from their dusty shelves and stuck on TNA where they certainly belong! As we can see in Dale’s illustration — etched shortly after the stone was first discovered — much of the detail of the multiple-rings and some of the curious ladder-like motifs were noted (though not all).
Around the same time in 1879, the renowned archaeologist J. Romilly Allen did an early article on the carved stones of Ilkley Moor, selecting the Panorama Stones as one site in his essay. He was very fortunate in getting an early look at the carvings here and gave the following lucid account:
“The Panorama Rock lies one mile south-west of Ilkley, and from a height of 800ft above the sea commands a magnificent view over Wharfedale and the surrounding country. About 100 yards to the west of this spot appears to be a kind of rough inclosure, formed of low walls of loose stones, and within it are three of the finest sculptured stones near Ilkley. They lie almost in a straight line east and west, the first stone being 5ft from the second, and the second 100ft from the third. The turf was stripped from the first a few years ago, and its having been covered up so long probably accounts for the sculpture being in such good preservation. It measures 10ft by 7ft, and is im- bedded so deeply in the ground that its upper horizontal surface scarcely rises above the level of the surrounding heath. The sculpture consists of twenty-five cups, eighteen of which are surrounded with concentric rings, varying from one to five in number. The most remarkable feature in the design is the very curious ladder-shaped arrangement of grooves by which the rings are intersected and joined together. I do not think that this peculiar type of carving occurs anywhere else besides near Ilkley. The second stone is of irregular shape, measuring 15ft by 12ft, and supporting a smaller stone of triangular shape 6ft long by 4ft broad. Both upper and under stone are covered with cups and rings, but the sculptures have suffered much from exposure. The superimposed block has eleven cups, two of which are surrounded by single rings. The under stone has forty-two cups, nine of which have rings. Amongst these are two unusually fine examples, one has an oval cup 5in by 4in, surrounded by two rings, the diameter of the outer ring being 1ft 3in. Another has a circular cup 3in diameter and five concentric rings, the outer ring being 1ft 5in across. The third and most westerly stone of the group measures 10ft by 9ft, and lies almost horizontally, having its face slightly inclined. On it are carved twenty-seven cups, fourteen of which have concentric rings round them. Some of the cups have connecting grooves and three have the ladder-shaped pattern before referred to. Several stones near have cup marks without rings.”
Heywood’s artistic effort!E.T. Cowling’s drawing
When Harry Speight (1900) visited these stones a few years later he echoed much that Romilly Allen had said previously, also commenting on how on certain parts of the carving, “the rings enclosing each cup are connected with ladder-like markings.” (my italics, PB) These “ladders” were even mentioned in a speculative but inaccurate essay by Nathan Heywood (1888) in a paper for the Lancashire and Cheshire Antiquarian Society. Equally important was a description of the site when members of the Yorkshire Archaeological Society visited the Panorama Stones in 1884, and Rev. A.C. Downer (1884) described this “most important group” of stones, saying that
“Near the Panorama Rock are three large masses of ironstone close together, and averaging ten to twelve feet across each way, the horizontal surface of which are covered with cups and rings, and two of these stones have also a peculiar arrangement of grooves somewhat resembling a ladder in form.”
Modern Folklore
Despite this and other descriptions, in recent times local archaeologist and rock art student Gavin Edwards has propounded the somewhat spurious notion that the ladders and perhaps other parts of the Panorama Stone carvings have a recent Victorian origin, executed by a local man by the name of Mr Ambrose Collins. Edwards took this silly idea to the Press, thinking he’d found something original, following a recovery of some notes from the Ilkley Gazette newspaper (earlier archaeologists had already explored this, which he should have been aware of), in which was stated that the said Mr Collins told other people in the Ilkley area that he was carving some of the old stones on the moors nearby. Now we know that Collins did this (we have at least 3 examples of his ‘rock art’ in our files), but he wasn’t allowed to touch the Panorama Stones!
Panorama Stone 229 (by James Elkington)Close-up of multiple rings (by James Elkington)
However, despite Gavin Edwards’ theory, it is clear that Ambrose Collins was not responsible for any additional features on the Panorama Stones: an opinion shared by other archaeologists and rock art specialists. Edwards’ theory can be clearly shown as incorrect from a variety of sources (more than the examples I give here).
In no particular order…there was an early photo of the main stone (above), taken sometime in the late-1870s by Thomas Pawson of Bradford which shows, quite clearly, some of the faded “ladder” motifs on the rock in question while the stone was still in situ. There is also an additional and important factor that Edwards has seemingly ignored, i.e., that neither J.Romilly Allen, Harry Speight, members of the Yorkshire Archaeological Society, nor any of their contemporaries made any comments regarding additional new motif elements carved onto these rocks when they visited the carvings at the period Edwards is suggesting Collins did his additions — which such acclaimed historians would certainly have mentioned. Mr Edwards theory, as we can see, was a little lacking in research. Considering only these small pieces of evidence, the pseudoscientific nonsense of the Victorian carving theory can safely be assigned to the dustbin!
Close-up showing faint ladders (by James Elkington)Close-up under lighting (by James Elkington)
If however, we do use Mr Edwards’ reasoning: take a look at the modern “accurate” drawing of this carving in Boughey & Vickerman’s (2003) book—which actually, somehow, misses elements of the carving that are clearly shown in Mr Pawson’s 1890’s photo and are still visible to this day! What are we to make of that? Have these modern folk been at it with the sand paper!? We can only conclude that these simple errors show a lack of research. The most worrying element here is that a local archaeologist can make such simplistic errors in his analysis of prehistoric and Victorian carvings without checking over publicly accessible data. Even more disconcerting was the fact that he was running Ilkley’s local prehistoric rock art group!
However, we cannot dismiss out of hand the words of the said Ambrose Collins in his proclamation of carving stones on the moors, as there is clear evidence that he did a replica of the Swastika Stone on rocks near the original site of the Panorama Stones. The carving he did is very clearly much more recent. We have also found one carving with Collins’ initials — ‘A.C.’ — carved on it and the date ‘1876’ by its side.
And although we can safely dismiss the Edward’s Theory about the Panorama Stones “ladders”, we may need to reconsider a number of other carvings on Rombald’s Moor as potentially Victorian in nature using the rationale Edwards proclaimed. For example — and using the disproved Edwards Theory — when we look at Romilly Allen’s drawing of the famous Badger Stone (from the same essay in which his image of the Panorama Stone is here taken), much of the carving as it appears today was not accounted for in the drawing. We can also look selectively at many other cup-and-rings on these moors and find discrepancies in form, such as with the Lattice Stone on Middleton Moor, north of Ilkley, or the eroded variations on the Lunar Stone. We have to take into consideration that some may have been added to; but more importantly, we must also be extremely cautious in the movement between our idea and the authenticity of such an idea. It is a quantum leap unworthy of serious consideration without proof. (though the example of the Lattice Stone has a markedly different style and form to the vast majority of others on the moors north and south of here. Summat’s “not quite right” with that one and the comical Mr Collins might have had his joking hands on that one perhaps…)
One very obvious reason that a number of the cup-and-ring carvings were not drawn correctly by historians and archaeologists alike, would be the weather! Archaeologists are renowned for heading for cover when the heavens open, quickly finishing their jottings and running for cover — and this would obviously have been the case with some of the drawings, both early and modern. Bad eyesight and poor lighting conditions is also another reason some of the carvings have been drawn incorrectly, as a number of modern archaeology texts — including a number in Boughey & Vickerman’s (2003) book — illustrate to any diligent student!
There is still a lot more to say about this fascinating group of carvings, which I’ll add occasionally as time goes by. And if anyone has any good clear photos of the stones showing the intricate carved designs that we can add to this profile, please send ’em in (all due credit and acknowledgements will be given).
…to be continued…
References:
Allen, J. Romilly, “The Prehistoric Rock Sculptures of Ilkley,” in Journal of British Archaeological Association, volume 35, 1879.
Bennett, Paul, The Panorama Stones, Ilkley, TNA: Yorkshire 2012.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
Downer, A.C., “Yorkshire Archaeological and Topographical Association,” in Leeds Mercury, August 28, 1884.
Hadingham, Evan, Ancient Carvings in Britain, Souvenir Press: London 1974.
Hedges, John, The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Heywood, Nathan, “The Cup and Ring Stones of the Panorama Rocks”, in Trans. Lancs & Cheshire Anti. Soc.: Manchester 1889.
Hotham, John Paul, Halos and Horizons, Hotham Publishing: Leeds 2021.
Speight, Harry, Upper Wharfedale, Elliott Stock: London 1900.
Acknowledgements: Huge thanks to the staff at Ilkley Library for their help in unearthing the old drawings and additional references enabling this site profile.
From Skipton centre get to the Horse Close estate on the southern side of the town and look up to the fields on the sloping hill above it with the small woods above ’em. Head up towards the trees, but before you get there go into the fields on your right, and in one of them you’ll see what looks like a pile of rocks near the middle. Head for it!
Alternatively, follow the directions to reach the Horse Close Hill enclosure, then walk down into the field on its western edge. You can’t really miss it!
Archaeology & History
This carving first saw the light of pen-and-paper in the early 1960s, soon after the Yorkshire antiquarian Eric T. Cowling (he of Rombald’s Way fame) was led to the site by his wandering nose and the aid of local people. He sent a letter to the editor of the Bradford archaeology group at the time (a certain Mr Sidney Jackson), which told:
“South-west of the wood which gives its name to the Great Wood Laithe at the western end of Rombalds Moor and overlooking Skipton from the east, is a cup-marked boulder: NGR – SD 99625055. In the middle of the field alongside the wood is an outcrop of rock which has been almost levelled with the adjacent field surface by the dumping of boulders from the surrounding ploughlands.
“The top of the outcrop rises to a dome-shaped projection which bears simple cup-markings. These average two in diameter and total 17 in number. The whole surface of the stone is weathered, and suitable light may reveal more details.”
And, faded though it is, in better lighting conditions it seems there may be more than twenty cup-marks on the rock. Certainly this is what the surveys of Hedges (1986) and Boughey & Vickerman (2003) concluded. There are other carvings close by and, on the hillside immediately above you, the denuded remains of a very impressive prehistoric settlement site known as Horse Close Hill. Well worth having a look at!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Cowling, E.T., “Cup-and Ring Boulders,” in Cartwright Hall Archaeology Group Bulletin, 9:5, May 1964.
Hedges, John (ed.), The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
From Askwith village go up the Moor Lane and at the crossroads go straight across (Snowden Moor is to your left). Go down and along Snowden Carr Road until the road levels out and, watch carefully, about 500 yards on from the crossroads on your left you’ll see a small crag of rocks in the fields above. Stop and go through the gate walking up the field. At the top is a gate: go thru this and turn right, up the footpath for 100 yards, keeping your eyes peeled! You’re damn close!
Archaeology & History
The most well-known and one of the more decorative of all the carvings in and around the Snowden Moor region is the Tree of Life Stone. In the 1930s, Eric Cowling first reported how, “this fine marking is the only one which appears to be known to the people of the district,” due in part to it being a site of local social activities (though nothing is said of this place in William Grainge’s [1895] survey). Cowling (1937) described the carving thus:
“This stone lies alongside the bridle path which skirts the southwest corner of the enclosed moorland above the hamlet of Low Snowden. A large flat rock surface at ground level has a number of cups joined together by a series of curved grooves, which in their turn are connected to a central straight groove. Immediately above the design, a broad groove has been cut across a raised central area as though to isolate the markings from several scattered cups which are to be found on the remaining surface.”
The modern surveyors Boughey & Vickerman (2003) tell us that this highly ornate stone comprises of,
“about 25 cups, with a group at the highest…end and a few isolated, but most in complex design with enclosing grooves suggesting a tree in fruit: hence the name ‘Tree of Life Rock.'”
The Tree of Life StoneCowling’s old sketch
The Coped Stone carving is just a few yards away and, on the slopes below here — as well as on the moor stretching above you — there is an excess of prehistoric remains: enclosures, hut circles, lengths of walling, cairns, other cup-and-ring stones — the vast majority of which has yet to be excavated in any formal sense (are any rich doods out there reading this who might wanna get things going…?). It appears that both the Coped Stone and the Tree of Life carving may have been linked by some ancient walling that appears to run between them.
Another possible variant on the Tree of Life Stone has recently been uncovered on the outskirts of Ilkley; but on this newly-discovered example we find the central ‘trunk’ of the ‘tree’ is a natural crack that runs up the middle of the rock. Up the ‘trunk’ are several short branches with cup-marks on either side, not unlike apples on a tree. Altogether there are at least 12 cups and one ring, with several curious lines, some of which seem geophysical in nature. After several visits to the site, it’s obvious that the ‘tree’ design is more obvious and there are additional faint carved sections on the stone which weren’t visible when it was discovered in heavy rain and poor light.
This is one of very few cup-and-ring stones with folklore attached. Cowling (1937; 1946) reported it to be site of early morning Beltane (May 1) gatherings. The title of the stone, the Tree of Life, was one he heard local people call this site, but “no reason is offered”, he said. About 100 yards below this we find a curious erectile, fertility image on the impressive carving 612, which (he says tenuously!) may (and that’s a dodgy “may”!) relate to the Beltane rites at the Tree of Life.
In more modern folklore, the old folklore writer Guy Ragland Phillips (1976) suggested the Tree of Life Stone to be an important focal point along one helluva highly speculative ley line: running from the Irish Sea, across land and the Tree of Life stone, continuing way east until hitting the North Sea! If this old ley did have any validity (it doesn’t!), the Tree of Life’s carved partners east and west of here — the Coped Stone and carving no.597 — would have also been on the same line.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Cowling, Eric T., “Cup and Ring Markings to the North of Otley,” in Yorkshire Archaeological Journal, part 131, 33:3, 1937.
Cowling, Eric T., Rombald’s Way: A Prehistory of Mid-Wharfedale, William Walker: Otley 1946.
Phillips, Guy Ragland, Brigantia — A Mysteriography, RKP: London 1976.
Acknowledgements: Many thanks to James Elkington and to Yorkshire Daz for use of their photos.
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 track for a few hundred yards until you’re on the moor proper (by this I mean the track’s levelled out and you’re looking 360° all round you with all the moor in front of you). Just before the track starts a slight downhill slope, go into the heather on your right, for about 80 yards. You’re damn close!
Archaeology & History
I first came here many years back in my mid- to late-teens with an old school-friend Jon Tilleard, wandering about adventurously, occasionally stopping here and there when I found some stupid cup-mark or other seemingly innocuous scratch on the rocks, gerrin’ all excited and jumping about like a tit! But when we visited the place again a few days back my response was somewhat different. I was worse! But for good reason…
Primary features of CR-107Close-up of main features
The potential variations visible in this carving are peculiar, to say the least. Ones first impression shows a carving similar in many ways to that shown in Hedges (1986) fine survey; but upon closer inspection a number of initial visual responses begin to look murky. A seeming cup-with-double-ring aint what it seems! To me at least (sad fella that I am!), it’s far more intriguing and far less certain, with a number of oddities still left.
The central feature of the carving is the lovely near-cup-and-double-ring! As we can see in the photo here, there are some insecurities in the top-right of the outer ring. To the upper right of this is another cup-with-partial-ring that was not included in the Hedges (1986) survey, nor Boughey & Vickerman’s (2003) updated work. There are some obvious pecked carved lines — whose specific definition yet remains unclear — in and around this area of the petroglyph; but in the “official” illustration these elements or ingredients were somehow missed.
Eclipse Stone, looking west
When we visited the stone the other day, the naturally eroded lines on the rock seemed pretty obvious; but the more we looked, the less secure we were about some of them. Thankfully the light kept changing about, allowing us to get different perspectives — and with the low sunlight of evening casting itself across the rock, some additional features seemed obvious. In particular, what seemed like two natural “scratches” on the stone turned out to have been pecked and carved and the straight lines ran into the double cup-and-ring on the left-side. One of these — the lower and shorter of the two — seems to run into the central cup, but this aint certain. The longer top line has an even more circuitous venture: entering the outer ring, it passes onto the top-inner ring and then bends along its edge, before exiting again on the right-hand side, through the outer ring and heading out towards the large natural eroded cutting a few feet away (see my crappy drawing to get an idea). Other faint aspects on this stone may have the hand of man behind them…
My shit sketch!Hedges 1986 sketch
There are certainly a few other cups on the stone: one with a near semi-circle on its lower and right-hand side. The long nature-worn cut, right-of-middle, may have had the hand of man cutting into the cup at the bottom; and another couple of “is it? — isn’t it?” enhanced natural cups seem possible on the left side of the rock. There is also what looks like a distinct single cup-marking on the west-facing vertical face of the stone (you walk towards it from the track). It looks pretty decent, but I’ll let them there “professionals” assess the validity or otherwise of that one! But the other unmistakable and very curious ingredient is the deep, worn arc beneath the primary double-ring feature. This is, as the photo shows, separated by a long natural crack running halfway down and along the stone, above which possibly the double-ring feature touches. This large ‘arc’ feature gives the distinct impression of being a big smile! However…
Turn the image of the central feature upside down and you get a very different effect indeed. A rainbow above the surface of the Earth, with (perhaps) a pool in which the sun has reflected? Or an underworld venture? Looking at it from a few angles gives the impression of a comet moving across the sky, aswell as an eclipse with the diamond-ring effect. But as with cup-and-ring in general, there are plenty of other potentials! Which also begs the question: was it to be looked from the top or bottom (or left or right for that matter)?
I could waffle about this particular carving for much longer, showing that it had quite an effect on me. Check it out and sit with it for a while… It’s superb!
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.
Not too far from the High Laithe cup-and-ring stone. Along the A6131 out of Skipton, park up at the Rendezvous hotel and go up the road on your left, over the canal. As you approach the second house up, note the rock on the right-hand side of the tiny road, perched on the edge above the stream, with ivy creeping up one side of it. That’s it!
Archaeology & History
This stone was moved to its present position a few decades back, sometime before Hedges (1986) first recorded it in his Carved Rocks work. It’s a reasonably large boulder, resting on the slope above the drop to the stream below, and will probably drop into the waters in the not-too-distant future. Whether the stream had any initial relationship with the cup-markings etched on its surface, we’ll probably never know (a number of rock art students love the water-stone relationship — and this one is no doubt in their listings!). Its first literary appearance by Hedges described it thus:
“Large fairly smooth grit rock sloping down to stream at E and into ground and grass at W. Eleven cups, circle of nine very small cups at one end, groove from depression, one other groove and possible cup.”
Lower half of CR-016
Which just about does it justice. When we visited the place yesterday, the cluster of small cups at the top of the rock were difficult to see clearly in the grey daylight; but what seems to be another 2 cups (not in Hedges, nor Boughey & Vickerman’s [1986] survey) may be on the lower-half of the stone, and can be seen in the photo here. We need to go back again on a bright day and catch the stone in a different mood to suss out whether we were just seeing things.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John (ed.), The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Worth the short trek if you like your cup&rings! On the Aire Valley Keighley-to-Skipton road (A629), as you approach the southern outskirts of Skipton, take the turning at the roundabout as if you’re going into the town up the A6131. Go over the next roundabout a coupla hundred yards on, then 200 yards further on note the right-turn up over the canal (big hotel just here, where you could park up). Walk over the canal up the tiny country lane. Ignore the first left turn and walk up, bearing next left uphill and onto the footpath. Walk up the hillocky quarried bit until you reach the stile in the wall. Once on the other side, look in the walling 20 yards uphill. You can’t miss it!
Archaeology & History
First described by Messrs Hartley and Radley in the Yorkshire Archaeological Register of 1968, this small “standing stone”, less than three-feet tall, has a distinct cup-and-double- ring carved onto its upright north-facing edge. The outline of the carving is visible even in bad light, though you might wanna rest and gaze for a minute or two for yourself and the lighting to adjust if it’s a grey day. There’s another cup-marking below the bottom right of the double-ring, with another ‘possible’ just above ground-level.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John (ed.), The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Cup-and-Ring Stone: OS Grid Reference – NU 021 278
Also known as:
North Plantation 3
Fowberry Moor Stone 3
Archaeology & History
Davison’s sketch
This is an excellent-looking carving which, it would seem, remains buried in the Earth nice n’ sleepy! Located “in the inner rampart on the south side of an unrecorded camp in North Plantation, Fowberry Moor, Chatton,” the carving was unexpectedly found during some basic excavation work on the camp itself. Described and illustrated by W.B. Davison (1934), this was one of two cup-and-ring stones hereby. He reckoned it wasn’t in its original position and seems – from the illustration here – to have been etched onto a fallen monolith. Davison’s detailed description told:
“The…stone was completely excavated and was found to be built into the inner rampart across its track. This stone measures 7’6″ north to south, is 1’2″ wide at its north end, 1’11” at its widest part, and 1’3″ at its foot. The average depth is 2’6″. The base is rough-surfaced and is prow-shaped at the northern end.
“Incised markings occur on the top only, and are as follows, reading from north to south. 1 cup surrounded by a ring and a half-ring lying east to west by south. 1 small cup. 1 cup. 1 cup surrounded by four rings, the largest of which has a diameter of 13½”. On the top of the outer ring occurs an abutting semicircle enclosing a cup. On the accompanying (image) will be observed what appears to be another cup on the innermost ring. 1 cup. 1 cup surrounded by a ring and a half-ring lying north to south by west. This marking rests on a two-inch deep slot possibly made for quarrying purposes. No other markings occur between this slot and the foot of the stone. Tool marks are very distinct on some of the above markings.”
Rock art researchers Jan Brouwer (2007) and Stan Beckensall have searched unsuccessfully for the stone in recent years.
Beckensall, Stan, Prehistoric Rock Art in Northumberland, Tempus: Stroud 2001.
Brouwer, Jan, ‘In Search of the Crowbar Stone,’ BRAC 2007.
Davison, W.B., ‘Cup-and-Ring Marked Rocks at Fowberry Park,’ in Proceedings of the Society of Antiquaries of Newcastle-upon-Tyne (4th Series), 4:7, October 1934.
From Ilkley go up to Middleton and from there go up Harding Lane and, where the road bends left a track goes straight north onto the moors. Go up this until you’re onto the moor proper. Keep going until you’re following the line of walling, where a small stream is trickling right by your right-hand side. Follow this to its source a coupla hundred yards up. Stop!
Archaeology & History
Middleton Moor CR483: single cup-and-line
First mentioned by Stuart Feather in 1965, this simple cup-marking has a long line squirming away to the edge of the rock on which it’s carved. The cup-marking is some 3 inches across and about ½-inch deep, with the long line about 24 inches long. There’s really nowt much to look at here unless you’re a real cup-and-ring freak — though note that the carving occurs on a broken piece of stone just where a spring of water emerges from the ground. Some archaeo’s have a notion that sometimes our cup-and-ring stones have some sorta relationship with water — though they’re not into sticking their necks out and saying anymore than that! And of course, some carvings obviously relate to water. This one here is a strong contender, with the long wiggly line perhaps representative of the stream running from its source, which itself is the cup-mark.
However, we might just aswell surmise that the carving here was executed by some bored teenager, just testing out his first antler pick, or flintstone, telling his mates, “I woz ‘ere!”
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
ather, Stuart, ‘Cup and Ring Boulders,’ in the Cartwright Hall Archaeology group Bulletin, 10:7, July 1965.
Near the western end of the Middle Ridge, south of Dryas Dike, it’s probably best reached following the same directions to find carving no.435, walking past it but then following the footpath down onto the moor 100 yards further down the slope. Walk along here for about 200 yards till you get to the boundary stone. You’re close!
Archaeology & History
Sketch of carving 446Smiley Stone carving
First described by Stuart Feather and described by him in 1966, this small rounded stone comprises of nine or ten cup-markings with a long, enclosing line that circuitously goes around four or five of them. It’s a curious-looking design which, from one angle, gives the impression of a smiley face — hence the name (this is Boughey & Vickerman’s name for it — not mine!).
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Feather, Stuart, ‘Mid-Wharfedale Cup-and-Ring Markings – no.43 and 44: Middleton Moor, Ilkley,’ in Cartwright Hall Archaeology Group Bulletin, 11:4, 1966.
