Ostensibly non-linear carved designs, generally assumed to be Bronze Age in date, but many originate in the neolithic period (some may indeed date back to 5000 BCE). Their central features are small rounded cup-markings, circles, semi-circles, curved lines (short, mid-length, and long), straight-ish lines, double- and multiple-rings, all in usually abstract design-forms. Their almost complete non-linear nature relate to non-egoic structuralisms, making them difficult to ‘intellectually’ grasp. Added to this is that no two carvings are the same. Although no direct ‘meaning’ can be ascribed to the carvings, many of them have a relationship with ancient notions of death and/or burial. In animistic terms, they relate to the spirit of rocks and other features of the natural landscape. They have very little relationship with alignment features (though exceptions in some megalithic rings have been found). Some modern writers allege positive relationships with water, but this ingredient (if tenable) cannot yet be said with any certainty: the idea should be forged onto animistic relationships with the land itself.
Cup-and-Ring Stone: OS Grid Reference – NT 251 696
Archaeology & History
Braid Hills carving
This is a fine-looking old cup-and-ring stone! Although no longer in situ (one of those really important golf courses needed to be built, so it had to go!), the 3 or 4 cup-and-rings seen here, carved at the end of what look like some sort of ‘stalks’, emerging from a distinctive radial under-curve, gave me a somewhat anthropomorphic impression of chaps in a boat — perhaps sailing into the Firth o’ Forth a short distance away! The Scottish Royal Commission (1929) report said the following of the stone:
“In 1897 a boulder of white sandstone with cup-and-ring markings on its surface was discovered on the Braid Hills golf course, and it was later presented to the National Museum of Antiquities. The stone measures almost 3 feet by 1 foot 9 inches, by 1 foot thick and is roughly oblong. The markings comprise seven cups in all, and at least three of these are completely surrounded by a ring and cut by a radial channel.”
Although nothing was said in the RCAHMS account, the stone gives one the impression it was associated with a tomb. And I know it aint the same, but when I first saw this carving, it reminded me of the Ri Cruin carving in Kilmartin, Argyll. It’s the potential “boat” feature that did it for me!
References:
Royal Commission on the Ancient & Historical Monuments of Scotland, Inventory of Monuments and Constructions in the Counties of Midlothianand West Lothian, HMSO: Edinburgh 1929.
Prehistoric petroglyphs are rare things indeed in Leicestershire! But the example that was found here — at the now destroyed prehistoric tomb which archaeologists catalogued as ‘Lockington Barrow VI’ in this small graveyard — shows that such ritual art spreads further afield than previously reported by archaeologists. Yet as with countless other cup-marked stones, it should come as no surprise to be found associated with a tumulus. Death and petroglyphs are common bedfellows – even in this part of Britain!
Lockington cup-marking (courtesy Gwilym Hughes)Lockington cup-marked stone
Found on the northern edge of a ring ditch surrounding this once-fine tomb, the carving was found on a small, triangular-shaped, broken piece of rock , less than 12 inches across along its longest side. The small stone has what seems to be eight cup-marks (5 seem certain) pecked onto the stone: simple, without additional ingredients, akin to the basic forms found at Baildon and other more northern climes. The stone itself didn’t seem to be local and was thought by Hughes (2000) “to be from one of the outcrops of millstone grit to the north of the site in southern Derbyshire.”
Less than 7 feet from this petroglyph, inside the barrow, was a pit containing a hoard of ancient gold and copper ware — though any likely relationship between the carving and the treasure hoard is doubtful. The carving was probably a “portable” relic, carried some distance and put here for some reason or other: perhaps as an offering; perhaps a magickal artifact — we’ll probably never know…
This is an intriguing find inasmuch as cup-marked stones are rare in this part of the British Isles. Antiquarians have noted examples of such carvings in the Cornish townships of Davidstow, Delabole, Portreath, but very few others are known about. But in the once-impressive Tregulland Burrow barrow that was found here on the south-side of the road a few hundred yards up from Cold Northcott, just next to the old township boundary line, as many as eighteen carved stones were unearthed!
Fig.2
They were all found inside different sections of the barrow, which was built on top of an earlier cairn structure, which appears to have been built upon an even earlier concentric ring of upright wooden poles. The cup-marked stones appear to have been introduced, or etched, around the time when the cairn structure was laid on top of the concentric ring of stake-holes. This “tradition” of adding cup-marked stones to cairns is a feature found at a number of sites in the northern lands of Yorkshire, Northumbria and across the Scottish counties, but such a celebrated event as this in the far southwest is highly unusual! (although the custom is pretty universal and is found, not only in the UK, but in many parts of the world).
Fig.3Fig.4
In Paul Ashbee’s (1958) excellent essay on this prehistoric tomb, he described the carvings at some considerable length — which is unusual for an archaeologist of that period — noting them as the “cup-marked and ornamented stones”. I hope that people won’t mind me repeating his lengthy notes on the relevant carved stones found in the tomb, the largest of which was on a big slab near the middle of the cairn that possessed cup-markings “and an ‘eyebrow’ motif”,* (figure 1, above) as he called it. He described the respective carvings as follows:
“From the Cairn-Ring:
1-2. A hog-backed outlined slate slab (figure 1, above). The bottom has a straight worked edge which suggests that the form was deliberate. On the inner face are four close-set cup-marks, and an ‘eyebrow’ device which has been made around a natural flaw, whilst the outer half has been formed by pecking and bashing to remove an appropriate amount of the laminated slate structure to form a depression. On the outer face there are four widely set cup-marks, one being connected by a channel to the edge of the slab…
3-4. A roughly rectangular slate slab. The upper face bears two cup-marks, one much smaller than the other, together with one abortive cup-mark, the lower a single cup-mark. Four perforations had been used to remove this slab from a parent block, the halves of these perforations gracing the upper edge. The slab was incorporated in the upper part of the cairn-ring material stacked against the largest of the sub-megalithic blocks of the cairn-ring.
5. The slab is hog-backed in outline, resembling No.1 above in general form. On the upper face, at a right-angle to the straight bottom edge, a channel had been produced by pecking, the marks of a pointed instrument being clearly discernible at the bottom of the channel. This channel extends almost from edge to edge of the slab, being narrow at the bottom and then expanding, being thus wider and then gradually tapering. Were it not asymmetrical it could be considered as a dagger representation.
6. A small block of roughly pentagonal outline, one side being irregular. The device it bears has been made by pecking an outline and removing the intervening laminated slatey rock. Found at the base of the cairn-ring on the south side.
7. A weathered pillow-like lump of a coarse sandstone-like rock. The plane face bears at least seven small ‘cup-marks.’ On other sides there are more weathered and uncertain marks which may well be natural. It was found surmounting, in a central position, the faced walling on the western side of the cairn-ring. Dr F.S. Wallis reports that: “This is evidently a sandstone rock with a large amount of quartz. This is a very generalized rock and I am afraid that it is not possible to tie it down to any particular part of Cornwall. The rock is much weathered and, judging from the print, I should say that the pits are entirely natural. Such a rock would hardly contain fossils and thus the pits could not have an organic origin.”
8. A roughly rectangular slate slab with opposing ‘cup-marks’ broken through before complete perforation. In addition there is a single cup-mark on the upper edge. (see figure 2) It was in the banked stones on the western side of the cairn-ring.
“From the soil bank:
1. An even, rectangular slab bearing a group of three cup-marks in one corner, and single cup-marks in two other corners. (see figure 3) From the outer cup-marks of the group run two channels. A channel runs from one of the solitary corner cup-marks. It was found, cup-marks and channels uppermost, almost exactly above the satellite cremation trench-grave.
2. A roughly triangular slab, bearing on its upper face a single centrally set cup-mark. Found by the cairn-ring in the eastern quadrant.
3. A small slab, of pentagonal outline, bearing a single shallow cup-mark. Found by the cairn-ring in the eastern side.
4. A thin U-shaped slab which has been battered into shape by edge chipping. A concavity has been made along the upper edge.
“From the ditch infilling:
5. A tough, quartz-veined slab with a shallow battered cup-mark. From the western side of the barrow.
6. A small, tough, even, rectangular piece of slate, bearing an abortive cup-mark. From the western side of the barrow.
7. A thin piece of slate bearing a small cup-mark set at a point where laminae of slate have left the piece. From the eastern side of the barrow.
“Unstratified:
All the “unstratified” cup-marked slabs recovered from the central disturbances, both recent and earlier, may well be derived from the destruction of the central grave arrangements.
8. A thick lozenge-outlined slab bearing one large cup-mark, and one smaller set side-by-side. (figure 4, above)
9. A roughly square-outlined slab with two cup-marks of even size set across one diagonal. (figure 5, below) One cup-mark has a smaller one close by it.
10-11. Irregular pieces of thin slate, bearing traces of perforations on their edges, one bearing cup-marks.
12. A roughly triangular slab bearing an ? unfinished cup-mark.
13. An even hexagonal slab that appears to have been, by edge trimming, worked into this form.”
Fig.5
The prolific collection of cup-marked stones in this once-impressive monument would probably indicate that the character buried here was of some significance to the local people, both to those who knew him and, evidently, in the subsequent mythologies surrounding the site (click here for the details of Tregullan Burrow barrow if you wanna know the archaeology and structure of the site). And although we find, statistically speaking, a lacking of other cup-markings in this region, it’s more than likely there are others that are hiding away amidst other old tombs and rocks…
References:
Ashbee, Paul, “The Excavation of Tregulland Burrow, Treneglos Parish, Cornwall,” in Antiquaries Journal, volume 38, 1958.
* the eyebrow motif description was used by a number of archaeo’s for sometime following publication of O.G.S. Crawford’s book, The Eye Goddess, to which the Antiquity Journal editor speculated some cup-and-rings may have owed their origin.
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
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.
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.”
Badger Stone on 1910 map
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.
The Badger Stone carvingClose-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.
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.
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.
Carving 257, looking NE
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.
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!
Close-up of cup & linesCarved Stone 270
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.
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.
Follow the directions to find the Tree of Life Stone, then follow the main footpath uphill from it. Once on the level, look out for a couple of large rocks abaat 100 yards to your left. Check ’em out, cos it’s on one of ’em!
Archaeology & History
This is another decent carving living on these prolific moors. Found near the end of a lengthy line of prehistoric walling that runs east-west over this part of the moor, the general Rorsharch-response to this carving is of some sorta skull or screaming face. My impression of it the other day was, “it looks like a pig!”
Although mentioned by numerous writers, the first description of it was in Eric Cowling’s (1937) essay on the cup-and-ring stones north of Otley, saying:
“On an isolated table stone, situated at the upper end of the shallow valley which drains Snowden Carr, the writer found a marking having a strangely skull-like appearance, but which is really a group of three large cups which are linked by inter-turning curved grooves.”
Close-up of main designThe Death’s Head Rock
He then strives to make links between this carving and the design on the Swastika Stone above Ilkley — which in some way is a little similar, i.e., as a three-armed triskele swastika; but the notion is perhaps as accurate as saying it represents a cloud, or a tree, or bird-flight, or any number of other natural phenomena. Beckensall’s (1999) brief note of the stone — despite getting his grid-ref off by a few hundred yards — described it as “four cups linked and enclosed by grooves, unconvincingly suggesting a skull to some people.” With Boughey & Vickerman (2003) saying:
“Fairly large, upstanding rock with surface sloping down to N. Figure of four cups linked by and enclosed by grooves: entire pattern resembles a skull, hence the name ‘Death’s Head Rock.'”
References:
Beckensall, Stan, British Prehistoric Rock Art, Tempus: Stroud 1999.
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.
Get to the Fence Stone carving and walk up to the top of the hill about 50-60 yards away. Once on the long flat rock, walk less than 20 yards WNW until you see the stone in the picture.
Archaeology & History
So named due to it being shaped like a little singular step on a stone, this cup-marked carving was first found in the middle of May, 2010, around the same time Michala Potts located the Snowden Crags cairn circle.
Step Stone, Snowden CragsClose-up of the cups
First described and illustrated on the Avebury Forum on June 3, 2010, this cup-marked rock is found in association with a number of (as yet) unexcavated prehistoric remains, close to some Iron- or Bronze Age walling and a distinct hut circle, close to one of the D-shaped enclosures 20 yards away.* When I first found it there seemed to be just two simple cups on it, but upon viewing it several times over the last few weeks in differing lighting conditions, it seems there may be as many as 4 cups on the southwestern face of the rock. In one of the images here, you get the impression that there could actually be five cups — but I’m gonna play safe and just say there are three such cups here.
* At least 3 large, prehistoric, D-shaped enclosures have been isolated on these moorlands, with diameters ranging between 15 and 80 yards. None of these have yet to receive serious archaeological attention!
