Yorkshire, West – Page 26

Alcomden Stones, Stanbury Moor, West Yorkshire

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Legendary Rocks: OS Grid Reference – SD 97313 35737

Also Known as:

Oakenden Stones

Getting Here

Alcomden102 — The ‘druidic’ Alcomden Stones

Takes a bitta getting to this spot, but it’s worth the effort! Make a day of it and walk up here via the little-known Cuckoo Stones monoliths. From here the walk gets steeper! Follow the footpath from the standing stones, uphill, to the legendary Wuthering Heights building of Bronte-fame a half-mile ahead of you. Then walk immediately up the slope at the side of the derelict house higher onto the moor (there’s no real footpath to follow) until the moorland levels out. From here, look west and walk that way for a few hundred yards where you’ll be seeing a large rock outcrop ahead of you. That’s where you’re heading! (if you reach the triangulation pillar, take the small path from there along the top of the moor towards this large rock outcrop)

Archaeology & History

Alcomden Stones01 — Alcomden’s Altar Stone

To those of you who like a bitta wilderness, or healthy normal people I suppose, this is a stunning place! Even though there’s little by way of archaeology here — save the usual expectations of a few flints and arrowheads — its geomancy, its position in the landscape, makes it excel as a once important ritual site for our ancestors in not-so-distant centuries. Although local tradition gave these great rocks a prehistoric pedigree, the archaeological record doesn’t say as much — but that doesn’t really mean much up here. We’ve found a singular Bronze Age cairn on the level at Middle Moor Flat 400 yards northwest (not in the record books), some prehistoric walling on the flat east of here (not in the record books), so a lot more attention is needed hereby to see what more may be hiding in this rocky heathland area.

The main feature amidst this extensive scattering of rocks is the large rocking stone, said to weigh six- or seven-tons, resting upon other glacial deposits. The rock itself can be made to rock very slightly. It was described in Lewis’ Topographical Dictionary as a

“cromlech, an evident druidical remain, (which) consists of one flat stone, weight about six tons, placed horizontally upon two huge upright blocks.”

But the placement here was done by Nature and not humans — making it much more important to our ancestors. This was a site for solace, for ritual and to commune with the gods themselves. A few visits to this place show this quite clearly — unless you’re unable to relax that is! It’s a place I wanna spend more time working with, as the mythic history around these stones feels strong, despite their absence from written records.

Alcomden Stones03 — The ‘altar’ resting on rocks

The druidic sentiments espoused by Lewis were all but echoed by our otherwise sober historian, J. Horsfall Turner, in his history of Haworth (1879), where he describes the Alcomden Stones as “the remains of a Druid’s Altar.” On top of the main ‘altar stone’ are what could be ascribed as worn cup-markings, but it seems they’re Nature’s handiwork once again; though this wouldn’t deny them as having some significance to our ancestors. A number of other boulders amidst this mass of rocks also have what seem like cup-markings, but none of them can be said with any certainty to have been carved by people. Indeed, the entirety of this legendary rock outcrop seems to have been created solely by the spirits of Nature.

One view of Earth, from Alcomden — View of Earth, from Alcomden

It was first described as ‘Alconley’ in 1371, then in the 1379 Poll Tax returns as ‘Halcom’, the etymology of which is difficult. Al- is a cliff or rock, many of which occur here; den is certainly a valley, over which we look to the northeast (to Ponden Kirk, 500 yards away); but the central element of ‘com‘ is the greatest puzzle. Blakeborough (1911) tells of the old Yorkshire word ‘con’ — found in the 1371 spelling — meaning “to scan, or observe critically,” which one can certainly apply here in a topographical sense, i.e., “observation stones above a valley.” It’s simple, succinct, and makes sense!

Folklore

As Elizabeth Southwart (1923) rightly said,

“Our forefathers, instinct and imagination more highly developed than knowledge, peopled their woods with fairies and their valleys with ghosts. On the high, wind-swept spaces they built their altars to Unknown Gods.”

Turner's 1913 drawing — Turner’s 1913 drawing

And such she thought was done at this “heap of rocks called Oakenden Stones.” It seems likely, as this place is superb for ritual magick and meditative systems. But all we have are the repeats of numerous old historians, from Whiteley Turner (1913) and his namesake J. Horsfall, to James Whalley, J.W. Parker and more, who recorded what the old locals said: that is was a place of the druids. There may be a grain of truth in it somewhere…

References:

Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milverton 2001.
Blakeborough, Richard, Wit, Character, Folklore and Customs of the North Riding of Yorkshire, W. Rapp: Saltburn 1911.
Parker, J.W., Guide to the Bronte Country, J.W. Parker: Haworth n.d. (c.1971)
Southwart, Elizabeth, Bronte Moors and Villages: From Thornton to Haworth, John Lane Bodley Head: London 1923.
Turner, J. Horsfall, Haworth, Past and Present, Hendon Mill: Nelson 1879.
Turner, Whiteley, A Spring-Time Saunter round and about Bronte Lane, Halifax Courier 1913.

Castle Hill, Kirklees, Brighouse, West Yorkshire

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Enclosure: OS Grid Reference – SE 173 216

Getting Here

Along the Brighouse to Mirfield A644 road, a half-mile east of M62’s junction 25 on Wakefield Road, note the woodland on your left-hand side, above the walling. Although on allegedly private land, you can approach by hopping over the wall by the main road into the woods. Wander up the slope until it levels out and, just at the edge of the tree-line, past the brilliant overgrown folly amidst a mass of rhododendrons, you’ll see the denuded edges of this earthwork. Though you might need a bitta patience seeking it out…

Archaeology & History

Castle Hill, Kirklees (Watson 1775) — Very first sketch of this site (John Watson, 1775)

The remains of this low earthwork is found on the private land of Kirklees Hall and appointment is supposed to be made to explore, both this and the more famous Robin Hood’s Grave, a few hundred yards away. But if you can’t be bothered with that and find this little-known earthwork, you’ll see that it’s roughly squared in shape, though pretty overgrown. In Bernard Barnes’ survey (1982) he described it as a “square or five sided enclosure, 2-3 acres in size, with bank and external ditch”, wondering whether it was used to enclosure cattle and stretching its possible origin between the Iron Age to the medieval.

Although the classical Roman archaeologist Ian Richmond (1925) believed the site to be from that period, the archaeologist J.J. Keighley thought that the site was “more likely to be Iron Age than Roman.” He wrote:

“The earthwork in Kirklees Park is a square or five-sided enclosure with bank and external ditch… The site lies on Richmond’s trans-Pennine route. According to Armitage and Montgomerie, the earthwork is 0.5 hectares in area, but it is actually nearer 0.8 to 1.2 hectares. They compare its construction with the fort at Wincobank (South Yorkshire), stating that the bank on the counterscarp when excavated, revealed “a very rudely composed wall of undressed dry stone.”

Earlier local writers such as John Watson (1775) — whose early sketch of the site is reproduced above — and others also opted for the Roman date. But, unless you’re a bit of an earthwork fanatic, this site may not be too much your cuppa tea. If you are gonna check this out though, make sure you check out Robin Hood’s old tomb in the trees not far away. Very odd.

References:

Barnes, Bernard, Man and the Changing Landscape, Merseyside County Council & University of Liverpool 1982.
Keighley, J.J., “The Prehistoric Period,” in West Yorkshire: An Archaeological Survey to AD 1500 (WYMCC: Wakefield 1981).
Richmond, I.A., Huddersfield in Roman Times, Tolson Memorial Museum: Huddersfield 1925.
Watson, John, The History and Antiquities of Halifax, J. Lowndes: London 1775.

Faweather, Baildon Moor, West Yorkshire

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Cup-Marked Stone: OS Grid Reference – SE 14263 41880

Also Known as:

Carving no.48 (Hedges)
Carving no.189 Boughey & Vickderman)

Faweather (Jackson) — Sid Jackson’s early drawing

Getting Here

It is best approached from the track at the side of Weecher reservoir (site of the destroyed Weecher stone circle) on the east side of Rombalds Moor, where you should follow the natural curve of the track till you reach the tiny hamlet of Faweather where, on your right, just in the garden edge, you’ll see this faded old carving. This has only recently been incorporated into the garden (it used to sit on a small triangle of grass where three old tracks meet), but the people living here seem pleasant enough and will let you look at the carving if you ask.

Archaeology & History

Faweather (Hedges) — Hedges 1986 drawing

Just off the far-eastern edge of Rombald’s Moor and north of Baildon Moor, this faded cup-marked stone might only be for the real fanatics amongst you! I like it though. Described in Sidney Jackson’s rare Bradford archaeology journal, the site was added to Hedges (1986) survey, and the subsequent Boughey & Vickerman’s (2003) work, neither of whom said much about it. It’s a pretty basic carving though, consisting of several cups and lines that run over the top of the stone, some of which seems to be due to natural weathering — it’s hard to say for sure.

References:

Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, West Yorkshire Archaeology Service 2003.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, West Yorkshire Metropolitan County Council: Wakefield 1986.

Badger Stone, Ilkley Moor, West Yorkshire

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Cup-and-Ring Stone: OS Grid Reference – SE 11074 46049

Also Known as:

Carving no.88 (Hedges)
Carving no.250 (Boughey & Vickerman)
Grainings Head Stone

Getting Here

Allen's 1879 drawing — Allen’s 1879 drawing

Although there are several routes to this site, for those who are not used to walking or find maps difficult to read [get a life!], it is best approached from the Ilkley side of the moor. Follow the old track that cuts the moor in half past the remains of Graining Head quarry where the moor begins to level out. Once here cut straight east until you find the footpath which, after a while, you will see leads to a wooden seat right in the middle of nowhere. Here is our Badger Stone.

Archaeology & History

An eroded but quite excellent cup-and-ring stone — one of the very best on Ilkley Moor — comprising nearly a hundred cups, ten rings, what seems to be a half-swastika design, plus a variety of other odd motifs. It’s one of the best carvings on the entire moor and has been written about by many folk over the years. First described in an early essay on cup-and-ring stones by J. Romilly Allen (1879) — who must have visited it in poor light, as some elements of the carving weren’t noticed — he described it as a “sculptured stone near Grainings Head”, saying:

“This stone…is a block of gritstone 12ft long by 7ft 6in broad, by 4ft high. The largest face slopes at an angle of about 40° to the horizon, and on it are carved nearly fifty cups, sixteen of which are surrounded with single concentric rings. At the west end of the stone are a group, three cups with double rings and radial grooves. At the other end, near the top, is a curious pattern formed of double grooves, and somewhat resembling the “swastika” emblem… At the highest part of the stone is a rock basin 8in deep and 9in wide. On the vertical end of the stone are five cut cups, three of which have single rings. This is one of the few instances of cup and ring marks occurring on a vertical face of rock.”

The title “badger” dates back to at least medieval times when, as the Yorkshire historian Arthur Raistrick (1962) explained, the word represented “a corn dealer, corn miller or miller’s man.” It is likely that this traditional title goes much further back, probably into prehistory, as grain was one of the earliest forms of trade. Very close to this sacred old stone are place-names verifying this, like Grainings Head and Green Gates. A little higher upon the moor is the twelfth century Cowper’s Cross (which used to have cup-markings etched upon it) where, tradition tells, a market was held that replaced an older one close by.

Badger Stone01 — The Badger Stone carving

BadgerStone02 — Close-up of cup-and-rings

Our Badger Stone rests beside the prehistoric track which Eric Cowling termed “Rombald’s Way” (after the legendary giant, Rombald, who lived with his old wife upon these hills): an important prehistoric route running across the mid-Pennines. This ancient route runs east-west, traditionally the time of year when agricultural needs are greatest at the equinoxes. This may have been the time when any ancient grain traders met here. (In modern times a number of archaeologists have emphasized such routes as “trade routes”: a notion that derives from the modern religion of Free Market Economics in tandem with the rise of Industrialism and social Darwinism, much more than the actuality of them as simple pathways or means of accessible movement).

There are accounts from other places in Yorkshire about these badger men. We find a number of other “badger” stones, gates, ways, stoops and crosses on our Yorkshire hills. One of them in North Yorkshire, wrote Raistrick (1962), “is an ancient trade way.” In Richmond, North Yorkshire, around the time of the autumn equinox, Badger men from across the Dales followed the old routes over the hills into town, held annual festivities and sold their grain. (see Smith 1989; Speight 1897) It is perhaps possible that our old Badger Stone would have been a site where some form of indigenous British Demeter was revered.

Badger Stone dr — Sketch of Badger Stone carving

Some elements of the Badger Stone carving have what could be deemed as primitive human images (anthropomorphic) mainly on the northwestern side of the rock, emerging from the Earth Herself. And certainly amidst the same portion we have a very distinct ‘solar’ symbol, very much like the ones found at Newgrange and, for that matter, many other parts of the world.

Some New Age folk have given the fertility element to the Badger Stone a deeper status, using imagination as an aid to decode these old carvings. When feminist New-Age writer Monica Sjoo visited Badger Stone she described it as “erotic”, with the carvings giving her a distinct impression of “vulvas” and she also thought orgies of sorts had been enacted here. (Billingsley & Sjoo, 1993) The vulva imagery is a well-known idea to explain cup-and-rings and in some cases this will be valid; but when I passed an illustration of this rock-art to a number of people (all women), there was not a vulva to be mentioned — merely the OM symbol, sperm entering the egg, a snail, a bicycle, a willy, a paw-print, eyes, a face, a tadpole, cartoon breasts, the rear end of a dog, grapes, letters, numbers, ears and a snake! Awesome stuff! Take a look at the design yourself and see what you can see in it. Answers on a postcard please! (The dilemma of making specific interpretations of these carvings is that we tend to approach them with dominant ego perspectives, many of them reflecting little more than our own beliefs or search for identity, imposing unresolved journeys and conflicts on that which we encounter, as with the above case.)

As with prehistoric rock-art in general, they are a number of things: functional, ritual, history, spirit; different at each and every site. As if to exemplify this at Badger Stone, note how the detailed carvings have been executed mainly on the southern face of the stone. The northern face has little if anything to show on it. It would suggest therefore, that this stone had some mythic relationship with events during daylight hours. But we have to be careful here…

At sunrise on a good morning, we note how the eastern edges of this stone show up very clearly indeed. If Nature’s conditions are damp and wet (as they tend to be each morning on the hills), the visible outline of these cup-and-rings show up very clearly indeed. Oddly, as the sun then passes through the daytime sky each and every day on its cyclical movement, the petroglyphic content becomes a little less visible unless the stone is wet. Indeed at sun-high (midday period) the carving doesn’t show up as well as it did in the morning light. And we find the same characteristic as the sun goes to set in the west: where that part of the carved stone shows up very clearly again — much clearer than during full daytime hours. If rain has fallen, the glyphs stand out very clearly indeed.

As all cultures imbued the natural world with animistic, living qualities, it seems probable that these periods of the day (sunrise and sunset) were significant at this particular carving. It may be, very simply, that the Badger Stone “came to life” with the sunrise and its mythic nature was alive during this period; whereas with many other carvings (both on these moors and elsewhere in Britain) their strong mythic associations related to the northern Land of the Dead. But then, I could be talking bullshit!

The Badger Stone is also a strong contender for it being a painted stone. Many petroglyphs like this in other cultures were ceremonially coloured-in using lichens and other plants dyes at certain times of the day or year, relating specifically to important mythic relationships between the people and the spirit of the rock at such places. This probably occurred here.

References:

Allen, J. Romilly, “The Prehistoric Rock Sculptures of Ilkley,” in Journal of the British Archaeological Association, volume 35, 1879.
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milverton 2001.
Billingsley, John & Sjoo, Monica, “Monica Sjoo in West Yorkshire,” in Northern Earth Mysteries, no.53, 1993.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John, The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Cowling, Eric T., Rombald’s Way, William Walker: Otley 1946.
Raistrick, Arthur, Green Tracks on the Pennines, Dalesman: Clapham 1962.
Smith, Julia, Fairs, Feasts and Frolics: Customs and Traditions in Yorkshire, Smith Settle: Otley 1989.
Speight, Harry, Romantic Richmondshire, Elliot Stock: London 1897.

Green Gates stone (257), Ilkley Moor, West Yorkshire

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Cup-and-Ring Stone: OS Grid Reference – SE 11499 46049

Also Known as:

Carving no.103 (Hedges)

Getting Here

Take the road from Ilkley town centre up towards the White Wells and keep following it along until it curves up and onto the moor itself and becomes a rocky dirt-track. Go up here, past the old quarries (left) until you hit the footpath which runs east (left) onto the flat level of the moorland. Follow this footpath along for literally half-a-mile, where a footpath runs up onto the tops of the moorland. Go up here for 100 yards and you’ll see a small standing stone by the right-hand side of the footpath; on the left, into the moorland about 20 yards away, this carving is to be found!

Archaeology & History

This is an excellent, archetypal cup-and-ring stone carving and is in a very good state of preservation. Found just a few yards away from the aptly-named Pitchfork Stone, the carving here on a large single stone mainly comprises of a double cup-and-ring. A couple of other possible outlying cup-marks can be seen: one just below the double-ring, and the other towards the top-end of the rock. It was first reported by Stuart Feather in the Bradford Archaeology Group’s journal in 1961, then listed in the surveys of Hedges (1986) and his followers.

When Michala Potts, Dave Hazell and I we visited this carving the other day, some halfwit had been up here in the not-too-distant past and, as with some of the carvings on the moors north of Ilkley, had daubed some paint or oily resin onto the carvings themselves to specifically highlight aspects of the carved rock (not one part of the uncarved stone had anything on it). We aint quite sure exactly what the substance is that’s been daubed onto the carvings (it aint ordinary paint), but seems like an oil or industrial substance. And, whoever’s done this, obviously seems to have some knowledge of the rock art they’re painting over: they certainly have good grid-references and enjoy walking the hills. This aint just some idiot/s into vandalizing the carvings for the sake of it, nor the whim of some airy-fairy New-Ager. Whoever’s done this (and it’s been done on other cup-and-rings around this locale) have deliberately set out to locate and paint over specific carvings — a number of them off-path — with the intention it would seem to highlight them for photographic enhancement. So — whichever retard has done this, might I suggest that you keep your industrial waste where it belongs: in your own house you fucking moron! If anyone knows who is doing this to the carvings round here, please email me (anonymously if necessary) with all relevant info. Any such communications regarding this matter will be kept strictly confidential.

References:

Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John, The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.

Coronation Cairn carving (270), Ilkley Moor, West Yorkshire

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Cup-and-Ring Stone: OS Grid Reference – SE 1226 4636

Getting Here

Walk up from Ilkley to the White Wells and keep following the footpath upwards, up the steps and onto the moor itself. Once you’ve got to the top of the steps above the rocky valley, look straight up the slope in front of you and walk directly up the hill. As you near the top, there’s a large cairn sat on the brow of the hill (known as the Coronation Cairn). This ‘ere carving is just a few yards below it.

Archaeology & History

Very little has been written of this albeit innocuous carving — if indeed it is a carving! Found on the large (though overgrown) flat stone just a few yards below the Victorian cairn, all that we appear to have here is a large cup-marking with a small arc pecked around its southern side and a distinct straight line running outwards from the cup (though the line doesn’t actually touch the cup-mark and does give the distinct impression of being pretty recent). A sort of “cup-and-half-ring” with extended line is perhaps the best description!

It was first reported by some English Heritage archaeologist — which, as is generally acknowledged, isn’t necessarily a good pointer for authenticity when it comes to identifying prehistoric rock art.* But it’s certainly got a bit more about it than some “carvings” they’ve reported in the past! Boughey & Vickerman (2003) made the following notes of this stone:

“”Low, flat gritstone rock quarried away on E side, fairly smooth but uneven. One large cup and deep groove slightly curving round edge of cup.”

Which is about right. I don’t really think too many of you will be into this unless you’re a real rock-art fanatic!

References:

Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John, The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.

* A number of cup-marked stones identified by English Heritage archaeologists have transpired to be nothing more than natural erosion.

Stanbury Hill (097), Bingley Moor, West Yorkshire

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Cup-and-Ring Stone: OS Grid Reference – SE 10970 43361

Also Known as:

Carving no.78 (Hedges)

Getting Here

To get here, follow the same directions to reach the ornate Lunar Stone. Once here, walk about 20 yards west towards where the brow of the hill begins to slope down. Amble about and you’ll easily find it.

Archaeology & History

This is a fascinating carving. Fascinating, inasmuch as it seemingly keeps changing appearance when Nature moves her daylight hues and whimsical unpredictability betwixt the hills, surrounding landscape and human observer. Depending very much where you stand and when you look at this small rock — dappled with unacknowledged veils of sunlights, grey winds and other natural forces — determines what the stone shows you. This carving as much as any upon this hill shows once again the hugely neglected dynamic between human purveyor and Nature’s powerful subtlety: an organic exchange of moods from stone to man and back again; very much how our ancestors saw things to be…

CR97a — Pecked lines clearly visible on the far end of the rock

For if we were to merely pay attention to what the reference books tell us about this carving (good reference books though they are!), we’d simply be seeing a rock possessing a “cup and partial ring and two other possible cups”, as Boughey & Vickerman (2003) and other students might do. But then, if conditions change, only subtly, and we gaze instead of study, other things can emerge. And just such a thing happened when we came here yesterday…

On my first visit here I could only see a single cup-marking, with another ‘debatable’ close by. The light of day wasn’t quite right it seemed. But when we visited here yesterday, the sun, the light, the land and our ambling minds saw much more unveiled from this old grey surface. Whilst two cups-and-rings seem to link with another cup on the lower end of the stone, amidst the natural cracks and fissures, on the higher end are very distinct carved pecked lines, one of which has been blatantly cut onto, or upon, the long curving crack which runs from one end of the stone to the other. As this carved line emerges out of the natural crack, it heads upwards. As it does so, another line has been pecked running off it to the left and then curves back down the sloping rock-face once again. But in this previously unrecognised carved section, these lines may extend even further up the rock…..it’s hard to say for sure. We could do with greater analysis of its surface, with further observations under yet more lighting conditions.

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.

Baildon Moor Carving (169), West Yorkshire

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Cup-and-Ring Stone: OS Grid Reference – SE 13838 40138

Getting Here

From Shipley Glen, walk up to the Dobrudden caravan park on the western side pof Baildon Hill and then in the long grasses immediately north of here, on the Low Plain, this old carving could once be found. I’m told it’s been moved in recent years (but have a mooch round anyway – there’s a number of other old cup-and-rings in the locale).

Archaeology & History

This small carving is not in its original position, having been moved to where it now sits a short distance northeast of the Dobrudden caravan park. It was first described briefly in Mr Baildon’s magnum opus here, seemingly omitted from the Hedges (1986) and reclassified as ‘stone 169’ by Boughey & Vickerman (2003). I’m not 100% certain that the illustration here by Joseph Rycroft and carving no.169 are one and the same – but they seem incredibly alike. If anyone knows for sure, one way or the other, please lemme know and I’ll amend as necessary!

References:

Baildon, W. Paley, Baildon and the Baildons – part 7, Adelphi Press: London 1913.
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.

Castle Stead, Cullingworth, West Yorkshire

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Earthworks: OS Grid Reference – SE 067 354

Getting Here

C.F. Forshaw (1908) told us that “this Castlestead…lies on the high ground between Cullingworth and Denholme, about 300 yards east of the point where te Cullingworth Road meets the Halifax-Keighley Road in Manywells Height, and over looks Buck Park Woods and the beck flowing down a deep ravine to enter the head of Hewenden Reservoir. A little to the north lies Moat Hill Farm…and the ancient burial place therewith associated.” Very little remains of the site can be seen.

Archaeology & History

C.F. Forshaw's 1908 plan of this Castle Stead site — C.F. Forshaw’s 1908 plan of this Castle Stead site

Just over a mile southeast of the site of (virtually) the same name — the Castlestead Ring — this here Castle Stead site had me thinking that both sites were one and the same (poor research on my behalf I’m afraid). At the moment, the archaeological period of when this site was constructed remains unknown. Thought by Forshaw (1908) to be “almost certainly a hitherto unknown Roman entrenchment,” the very slight remains left here could be Iron Age or Romano-British. In his lengthy article on the remains that could be seen here more than 100 years ago, Mr Forshaw told us:

“Several fields hereabouts bear the name Castlestead and one of these contains the entrenchment, which almost coincides within its area… The reason for the selection of this site is clear, for on no side is it commanded by higher ground: whilst one face has a natural fortification of a rock scar impassable at most points and easily accessible at none. Here very little art would make the position impregnable in primitive warfare, and it is noticeable that the most suitable part of the verge has been selected, and almost the whole of the scar has been included. It is, however, only right to state that stone has been quarried here within living memory and this may have altered the ground considerably, and may account for several features mentioned hereafter.

“The accompanying plan (above) will make the outline of the fortification clear, and from it one can readily recognise the usual Roman form. The moat and bank, the quadrangular shape with rounded corners and the entrances on three sides (and possibly on the fourth also) are characteristic. The unusual point is the selection of a natural fortification for one (the south) side.

“The question at once arises: was this a permanent stone fort? Clearly not, for the bank has been cut across at four places (A, D, H & L) and not only was no stone found — beyond such odds and ends as may be seen in any field — but the deeper, undisturbed layers of silt showed no signs of a trench in which foundations might have stood. It is noticeable that there are more stones on the crown of the bank than elsewhere. This I take to be the remains of what was thrown up in the bank. The field has been cultivated many years, so that the bank has been much reduced in height and the moat filled up.

“The original height of the bank is difficult to guess, but the moat was about three feet deeper than at present at the point H, and from the amount of soil removed we may imagine the bank about five feet higher than it is now, and solid at that; this makes a total outside slope of about 10 feet, a very formidable obstacle to surmount in the face of opposition, especially is strengthened by a stockade, such as was possibly present.The remains of the bank are capped with a layer of some six inches of bluish, silty clay. This was evidently placed there deliberately, and is in accordance with Roman work as seen elsewhere (e.g., at Castleshaw, near Oldham). There is also some slight evidence that, as at Castleshaw, the moat was once faced with irregular pieces of flat stone. The moat was some 18 feet across at the top, six feet at the bottom and five feet deep. The east and west sides were probably less strongly entrenched. Certainly the moat was much less, for rock lies only just below the sod, halfway along the western side. When the southern face is examined there are more signs of stonework, however, for where the rock is deficient the gap is filled with the remains of a dry wall which has some peculiar characteristics. In places the lower part of this wall is formed of roughly-shaped oblong blocks of large size (one has a face of 57 x 17 inches), arranged in definite tiers. This is not like an ordinary field fence, and differs even more from the ancient wall marked (probably erroneously) as Denholme Park Wall on the Ordnance map, which it continues: so it is conceivable that it may be Roman work. There is now little or no sign of a bank along the rocks bounding the southern side of the camp, but it is probable that something once existed to give cover to the defenders, and we may well imagine a low dry wall continuous with the fragments just described: and it is rather noticeable that there are more squared stones in the walls of this field than in others in the neighbourhood.

“There are no traces of buildings within the lines so far as the present investigations go, nor signs of prolonged occupation at the site. I have dug at the points indicated (on the map above) and came upon rock or disturbed silt in each case. The circular shallow hollow in the centre seems natural. It is to be remarked that the average depth of surface soil in this field is unusual, more than one foot in fact.”

Mr Forshaw then goes on to ask a series of questions, followed by his own particular answers and theory relating to the nature of these earthworks. Hopefully you won’t mind if I cite his ideas in full, despite him thinking that the remains here are of Roman origin (remains of which I don’t really wanna include on TNA). He continued:

“Was this camp on the course of a Roman road? One can only say that no definite road exists at the entrances now, but there seems some ground for thinking that a surface was prepared…at the western entrance for two reasons:

1. Just to the north the rock is covered with made soil only; but in the entrance itself irregular stones are packed in a level, solid manner, giving a strong impression of artificiality. At the southern verge of the entrance this layer ends abruptly in a line at right angles to the bank, and here it is based not on rock, but on natural silt.

2. A slight hollow runs straight westward from it for some twenty yards through the next field. This may represent a destroyed road.”

Mr Forshaw then makes a few attempts to justify this idea, including notices of footpaths and linear features near the site, aswell as citing earlier historical sources that describe Roman roads — but the ones cited are some considerable distance from this site. In summing up, he notes how no Roman finds were made here — nor indeed any finds from earlier periods — but he opted for the site being a temporary Roman outpost. The more recent opinions of this place are that it was of late Iron Age or Romano-British origin.

References:

Cudworth, William, Round about Bradford, Thomas Brear: Bradford 1876.
Forshaw, C.F., ‘Castlestead, near Cullingworth,’ in Yorkshire Notes and Queries – volume 4, H.C. Derwent: Bradford 1908.
Hindley, Reg, Oxenhope: The Making of a Pennine Community, Amadeus: Cleckheaton 2004.
James, John, The History and Topography of Bradford, Longmans: London 1876.
Keighley, J.J., ‘The Prehistoric Period,’ in Faull & Moorhouse’s, West Yorkshire: An Archaeological Survey to AD 1500 – volume 1, WYMCC: Wakefield 1981.
Varley, Raymond, “The Excavation of Castle Stead at Manywells Height, near Cullingworth, West Yorkshire,” in Transactions of the Hunter Archaeological Society, volume 19, 1997.

Eclipse Stone (107), Bingley Moor, West Yorkshire

28/04/201022/10/2019 megalithix

Cup-and-Ring Stone: OS Grid Reference – SE 11164 42652

Also Known as:

Carving no.107 (Boughey & Vickerman)
Carving no.228 (Hedges)

Getting Here

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…

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.

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…

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.