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.
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 traclk and keep walking till you hit a moorland ‘footpath’ signpost. Stop here and walk due west (your left) onto the gently sloping rise of Stanbury Hill. Keep walking for a 250 yards or so, where the land has sloped gently down to the end of the spur; and just 50 yards before it drops down tot he stream below you’ll find a cluster of rocks scattered about. One of the stones here is this one!
Archaeology & History
This is an excellent carving first recorded, it seems, by Stuart Feather in 1977, as cited in the Yorkshire Archaeology Journal’s ‘Listings’ for 1978. It can be found some 27 yards west of a prehistoric cairn near the top of the ridge (14 yards east of the same cairn is the Spotted Stone carving).
Lunar Stone carvingSoutheast section, with 3 cup-and-rings?
We have to assume that when Mr Feather first located this stone that the faint cup-and-rings on the topmost southeast section of the rock had been exposed to the elements from Day 1, so to speak: as the designs here are quite faint and well-worn. Another not unreasonable assumption is that Mr Feather then proceeded to dig away at the rest of the rock, exposing other features on the stone which had laid under the soil for countless centuries, as the northernmost part of the carving has minimal erosion effects on it. Indeed, unless this is true, we have to start thinking that the carving was made over quite lengthy periods of time, due solely to the greater and lesser effects of weathering on different sections of the stone.
As seen in both the diagram and photos, this is a quite extravagent design. Consisting of several cup-and-rings, aswell as a double-ring, it is found amidst a small cluster of equally impressive, albeit very different carved rocks, all appearing to have a quite specific relationship with death and ritual. This and the other stones are found on the western end of a small serpentine ridge of land (Stanbury Hill), with streams flowing on the north and western sides and small remains of marshland to the south. The geomantic feature here, if relevant, relates to movements between the Earth, water, death and the setting sun: quite potent and important issues in the lives of the neolithic and Bronze Age peoples who lived hereby.
Northern section of carving – with calendrical cups?
The title of this stone carving — the Lunar Stone — should be quite evident: the design has all the hallmarks of celestial lunar movements around the ridge of the heavens; or here, pictured along the edges of the rock (symbolic of the firmament), upon and amidst which the moon travels in its rhythmic motion through the heavens. But don’t take that too seriously: it’s just an imaginative flutter that struck my otherwise distraught inability to know what I’m talking about!
References:
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Head up to the Cow & Calf Rocks and walk to the large disused quarry round the back (west). You’ll notice a scattered copse of old pine trees on the edge where the hill slope drops back down towards Ilkley; and there, two raised hillocks (unquarried bits) rise up where the pine trees grow. The carvings are on the flat rocks atop of one of the two hillocks. If you’re walking up from Ilkley, once you’ve crossed the cattle-grid in the road and the moorland slope opens up above you, just walk uphill towards the copse of trees and watch out for the rock outcrop in the picture here.
Archaeology & History
Very well-known to locals, folklorists and archaeologists alike, the remains of these old glyphs have caught the attention of artists, historians and Forteans alike for the images and tales surrounding them. It was obvious that in times past, that the carved remains that we see today would have extended considerably further, but the quarrying destroyed much of it. Indeed, we’re lucky to have this small section of carved rock still intact!
The rocks were first described as the Hanging Stones in the local parish records of 1645, and their name probably derives from the old-english word hangra, meaning ‘a wood on a steep hill-side,’ which is very apt here. The first known description of the site as possessing cup-and-rings appears to have been in a small article in the local Leeds Mercury newspaper in 1871. Several years later J. Romilly Allen (1879) wrote a lengthier descripton of the site:
“The crags from which these masses have been detached are known by the name of hanging stones, and at their eastern extremity is a large quarry. Between this quarry and the overhanging edge of the cliff a portion of the horizontal surface of the rock was some years ago bared of turf, thereby disclosing the group of cup and ring sculptures shown on the accompanying drawing. It will be seen that the design consists of twenty-five cups of various sizes, from 1 to 3 inches in diameter. Seven of the cups are surrounded by incomplete rings, many of them being connected by an irregular arrangement of grooves. The pattern and execution are of such a rude nature as almost to suggest the idea of the whole having been left in an unfinished state. The sides of the grooves are not by any means smooth, and would seem to have been produced by a process of vertical punching, rather than by means of a tool held sideways.”
Allen and other archaeologists from this period saw some considerable relevance in the position of this and the many other cup-and-rings along this geological ridge, telling:
“The views obtained from all points over Wharfedale are exceedingly grand, and this fact should not be lost sight of in studying remains that may have been connected with religious observances, of which Nature worship formed a part.”
J. Romilly Allen’s 1879 drawing of the carvingsWater-assisted double-ring on eastern rock
A common sense point that seemed long-lost to many archaeologists, adrift as they went in their measurements of lithics and samples of data charts for quite a number of years. In recent years however, this animistic simplicity has awakened again and they’ve brought this attribute back into their vogue. Let’s hope they don’t lose sight of it again!
There are tons of other archaeological references to this fine set of carvings, but none add anything significant to anyone’s understanding of the nature of the designs. We must turn to psychoanthropology, comparative religion and folklore if we want to even begin making any realistic ‘sense’ (if that’s the right word!) of this and other cup-and-rings. Curiously, the nature of this and other carvings is a remit archaeology has yet to correctly engage itself in.
Hanging Stones with “21st century informal unauthorised carvings”
On a very worrying note, we need to draw attention to what amounts to the local Ilkley Parish Council officially sanctioning vandalism on the Hanging Stones, other prehistoric carvings and uncarved rocks across Ilkley Moor. As we can see on a couple of photos here, recent vandalism has been enacted on this supposedly protected monument. Certain ‘officials’ occasionally get their headlines in the local Press acting as if they’re concerned about the welfare of the ancient monuments up here, but in all honesty, some of them really don’t give a damn. The recent vandalism on this stone and others has now been officially recognised as an acceptable “tradition” and a form of — get this! — “twentieth / twenty-first century informal unauthorised carving” and has been deemed acceptable by Ilkley Parish Council as a means to validate more unwanted carving on the moorland “in the name of art”! Of course, their way of looking at this has been worth quite a lot of money to a small group of already wealthy people. But with Tom Lonsdale and Ilkley Council validating or redesignated ‘vandalism’ as “twenty-first century informal unauthorised carvings”, this legitimizes and encourages others to follow in their shallow-minded ignorant footpath, enabling others with little more than a pretentious ‘care’ for both environment and monuments to add their own form of ‘art’ on cup-and-ring carvings, or other rocks on the moors.
Hanging Stones with more “21st century informal unauthorised carvings”
You can see in some recent vandalism — sorry, traditional “twentieth / twenty-first century informal unauthorised carving” — at the top-right of the Hanging Stones photo to the side, a very ornate ‘Celtic’-style addition, akin to the quality carved by well-known stone-mason Pip Hall who, coincidentally, has now been granted a lot of money to “officially” carve her own work on another stone further down the valley from here. With Miss Hall, Mr Lonsdale, poet Simon Armitage and Ilkley Parish Council each playing their individual part in encouraging what is ostensibly vandalism…errr…sorry – I keep getting it wrong – I mean traditional “twentieth / twenty-first century informal unauthorised carving” on the Hanging Stones monument and other cup-and-ring stones on the moor, we can perhaps expect a growth industry in this field…..especially if you’re wanting to make more money for yourself in the name of art or poetry. And if you apply to Rachel Feldberg of the Ilkley Arts Festival, you may get good money for your work… Seriously! (this is no joke either)
Please contact Ilkley Parish Council and other relevant authorities and express your dismay at their lack of insight and concern for the knock-on effects of their decisions on this matter. Other plans to infringe even further onto Ilkley Moor are in the business pipeline…
Folklore
Just underneath the carved overhanging rocks (walk off the knoll to the bottom of the rocks, facing the town), is a small recess or sheltered cavity which, told Harry Speight (1900),has
“From time immemorial (been) known as ‘Fairies’ Kirk’, and traditions of it having been tenanted by those tiny sprites, the fairies, still exist among old people in the neighbourhood.”
Tradition goes on to tell that when the Saxons arrived here, they were wont to build a christian church by the Hanging Stones, but the little people strongly resented this and fought hard against the invading forces. As the Saxons started building the edifice of the new religion, during the night the fairy folk took down the stones and moved them into the valley below. In the morning when the Saxons found this had happened, they carried the stones back up to begin building again; but each night, the fairy folk emerged and again took the stones to the valley bottom again. Eventually, after much hardship, the Saxon folk gave up the idea of building on the Fairie’s Kirk, as it was known, and the church that still remains in Ilkley centre was decided as an easier place to build their edifice.
Traditions such as this (of fairies moving stones back to whence they came, or away from ancient archaeological sites) are found throughout Britain and appear to be simple representations of the indigenous peasant hill-folk who strongly objected to their own sacred sites (rocks, trees, wells, etc) being supplanted by the invading religious force.
In more recent years the observation of curious light phenomena over these rocks have been seen, both over here and the Cow & Calf Rocks…
References:
Allen, J.R., ‘The Prehistoric Rock Sculptures of Ilkley,’ in Journal of the British Archaeological Association, vol.35, 1879.
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milveton 2001.
Bogg, Edmund, Higher Wharfeland, James Miles: Leeds 1904.
Collyer, Robert & Turner, J. Horsfall, Ilkley: Ancient and Modern, William Walker: Otley 1885.
Gelling, Margaret, Place-Names in the Landscape, Phoenix: London 2000.
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Leeds Mercury, ‘Prehistoric Remains at Ilkley’, 20 April, 1871.
Michell, John, The Earth Spirit: Its Ways, Shrines and Mysteries, Thames & Hudson: London 1975.
Size Nicholas, The Haunted Moor, William Walker: Otley 1934.
Smith, A.H., English Place-Name Elements – volume 1, Cambridge University Press 1956.
Speight, Harry, Upper Wharfedale, Elliott Stock: London 1900.
Follow the directions to reach the giant Haystack Rock, then follow the footpath west along the moor-edge, round where it bends keeping along the edge of the stream (Backstone Beck) below. A couple of hundred yards after the bend, right by the side of the path. You’ll see it! (if you hit the clearly defined ‘enclosure’ walling, you’ve gone too far)
Archaeology & History
No — not the Rosetta Stone; but it is a lovely carved rock this one. Best seen (as usual) when the rock’s wet and the sun’s heading for (or just emerged from) the horizon — but much of this image is visible even when She’s cloudy.
Close-up of ‘rosette’ design & and other CnRsThe Rosette Stone carving
First mentioned in literary terms (surprisingly) by M.J. Walker (1956), in a short write-up following one of the Bradford Archaeology Group’s moorland walks up here. Nearly six-feet along its longest axis, there are more than 30 cup-marks on this stone, at least three with rings; plus a variety of lines linking some cups to others. At its northern tip is the lovely little ‘rosette’ design, as archaeologists have called it. Others have seen this part of the design as a solar image; a flower; the Pleiades; a ring — take your pick! It is a lovely carving though (if you’re a sad person like me, who’s into these sorta things!). What relevance – if any – it may have had to the ‘enclosure’ within whose edges it sits, is anyone’s guess!
Excavations done close by (focusing mainly on the prehistoric ‘enclosure’ within whose domain this and other carvings occur) uncovered remains of old grooved ware pottery and the remains of flints. (Edwards & Bradley 1999)
The one thing we realise from looking at this design is the difference seen between the ‘accurate’ illustration drawn by archaeologists, and the flesh and blood of the stone itself, in situ. The living rock has much greater form and expression than anything which our desire for accuracy possesses. This aint knocking any attempt to portray the cups, rings and lines on paper correctly to show what the design originally looked like; merely that there’s a world of difference between the experiential vision of the carving and that done with graphic accuracy. But we all know that anyway – so please forgive my little sojourn into speaking the bleedin’ obvious!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Edwards, Gavin & Bradley, Richard, ‘Rock Carvings and Neolithic Artefacts on Ilkley Moor, West Yorkshire,’ in Grooved Ware in Britain and Ireland (edited by Cleal, R. & MacSween, A.), Oxbow: Oxford 1999.
Hedges, John (ed.), The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Walker, M.J., ‘Ilkley Boulders Tour,’ in Bradford’s Cartwright Hall Archaeology Group Bulletin, 2, 1956.
Pretty easy to find. Follow directions to reach the great cup-and-ring marked Haystack Rock, then follow the footpath west and drop down the slope, crossing the stream of the Backstone Beck below you, the up the steepish slope and turn sharp left when you hit the footpath before the top of this slope. Walk onto the moor! You’ll walk right past the cup-and-ring marked ‘carving 283’ on this path, then the ruinous Backstone Circle a bit further along (50 yds to your right), but keep walking for another 100 yards until you see a large boulder a few yeards to the left of the footpath. That’s it!
Archaeology & History
I first came across this as a kid, sometime in my early to mid-teens, pottering about, looking at any old rock that caught my eye. And this one isn’t hard to miss really. One of the best memories I’ve got of this stone was when a bunch of us came walkabout up here, sometime in the autumn, when the heavens poured all day long to saturation-point — even for those in all their protective gear, such good as it was in the late ’80s to early ’90s. There started out a fair bunch of us—between 20-30 folk—with numbers dwindling sharply when we reached the Apostles. But this stone was visited way before that! Along with Bob Trubshaw, Graeme Chappell, Kaledon Naddair, Edna Whelan and a troop of other mad-folk, we stopped for a while to consider this old rock, with only three cups really visible that day. The others (those cited by the archaeo’s) weren’t picked out, as I remember. But She was pissing-it-down and the wind was really giving-it-some, so we didn’t stop here for long! We all agreed though: it was a nice, worn cup-marked stone.
Gill Head rock carvingGill Head carving (after Hedges 1986)
John Hedges and the Ilkley Archaeology bunch had cited it as ‘cup-and-ring’ in their fine work — the first time this old carving had been in print since it was first etched! A few years later when Messrs Boughey & Vickerman (2003) checked it for their survey, no new features had been noted and they just copied Hedge’s earlier notes. Indeed, it’s just a large boulder with a few archetypal cupmarks on it when it first greets the eyes. Nowt special—and with no companions either.
This is another one mainly for the mad-folk and purists amongst us.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Hedges, John (ed.), The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Seemingly not visible anymore, but directions given by a Miss N. Hutchinson in the early 1960s worked for me and Dave Pendleton when we checked this out at the end of our teens. We had to look around till we found it, based on the following directions. The carving was found “on top of a low dry wall on Esholt Lane, Esholt…on the stretch of road from the junction of Gill Beck with the River Aire to the stone-built barn on the left-side of the road, that is, going towards Esholt.”
Archaeology & History
Esholt Lane Carving, Bradford
First described by Miss Hutchinson in a letter she sent to Sydney Jackson (1964), editor of Bradford Archaeology group newsletter. When we first found this small carving (not far from where we grew up) we were at the end of our teens, and followed the directions cited in the Cartwright Hall Archaeology Group Bulletin (see above). The carved design was typical of the primary arcs found in many of the Baildon Moor cup-and-ring carvings a bit further up the hill, but with two other small faint cup-markings on it. According to Boughey & Vickerman (2003), the carving’s now been hidden in a section of walling that’s been rebuilt. The drawing here is from one of my unpublished notebooks. (1984)
References:
Bennett, Paul, Ramblings of Archaeological Remnants in West Yorkshire, unpublished: Shipley 1984.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Jackson, Sydney, ‘Cup-Marked Rock – Esholt Discovery,’ in Bradford Cartwright Hall Archaeology Group Bulletin, 9:4, 1964.
Along the B6265 Pateley Bridge-Grassington road, roughly halfway between Stump Cross Caverns and the turn down to Skyreholme and Appletreewick (New Lane) is a dirt-track on your right-hand side called Black Hill Road. Walk along here for a few hundred yards till y’ reach the gate on the right. A track meanders downhill to the psilocybin-rich pastures of Nussey Green. Several hundred yards down, to the right-hand side of the track, we find this stone and its several nearby companions. Look around – you’ll find it!
Archaeology & History
I like this carving — I think because of the initial impression it gave, which was one of numeracy and linearity: an unusual quality for a cup-and-ring stone. Those of you with an astronomical or mathematical slant may have a similar response.
Line Stone Carving, Skyreholme
The stone was first described in one of Stuart Feather’s (1964) many short notices. Its existence then remained dormant until it was eventually listed in Boughey & Vickerman’s (2003) survey on the West Riding rock-art, where they catalogued it as ‘stone no.401.’ The carving comprises of two parallel lines—one quite deep—with cup-marks at either end; one of the lines having another 2 cups along it. A third line at an angle has one or two cups along it aswell. Several other single cups scatter the rock (forgive my crap drawing of it!).
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Feather, Stuart, ‘Appletreewick (WR),’ in Yorkshire Archaeology Journal 41, 1964.
Various ways here, but for the sake of newcomers I’d say it was best following directions from Burnsall. From here, take the Appletreewick road thru the village, past the left turn a few hundred yards along, and another 500 yards or so there’s a split in the road: take the one on your right! Follow this up, keeping right (don’t turn into Perceval Hall, tempting though it may be!) and park-up where the road turns into a track. Walk up the track, past the haunted junction, bearing left uphill up Black Hill Road until you reach the very peak of the track where, in the walling on your left, you’ll see this big boulder. If you can’t see it, you’re bloody close!
Archaeology & History
This is at the very peak of Black Hill Road, with excellent views of Simon’s Seat climbing to the immediate south, the prominent and rounded Nursery Knot Hill immediately north, and grand views to peaks east and west. It is very likely this position had something to do with it being deemed worthy of relevance. The rock itself defines a point along the old boundary line.
Skyreholme Wall Boundary carving
One peculiarity on this boulder is the deep cup-mark with a strange ‘lip’ to it, which has been mentioned by others in the past. This is surrounded by at least five others cups — not dissimilar to some of the ‘rosary-designs’ of cup-and-rings further north.
The rock art student’s Boughey & Vickerman’s (2003) drawing of this design is pretty accurate — where they call it stone 413 — though it doesn’t actually give this carving the justice it deserves. They also erroneously tell that some of the cups here are doubtful.
Check it out for y’self. This is an excellent stone for cup-and-ring lovers! (with plenty of other sites scattered about all round here)
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
On the opposite side of the road (B6265) from Airedale General Hospital, Steeton, you’ll notice a footpath going up the field into some woods. Go up here. Once you come out the top of the woods, follow the dodgy path on your right (west) along the rocky edges for 250 yards, following the edges of the field walling. You’ll eventually reach the field with lots of rocks in it. It’s the field before this one, close to the walling. Look around!
Archaeology & History
I’ve been a little cautious about putting this carving on TNA simply because it seems to be an isolated example and was a little unsure about its veracity. If I’d have found the stone on the edges of Ilkley Moor, Rivock Edge, or the heights above Askwith, I wouldn’t have hesitated. The fact that no other carvings occur nearby has been my main trouble. But I suppose if the carving turns out to be nowt of the sort, I can discard it at a future date and, of course, make sure that a lot of other cup-and-ring stones are disregarded at the same time (there are a number of other designs much less defined than this one which have been okayed by archaeo’s who’ve been into this subject for much shorter periods of time than myself). But less of the waffle!
Currer Wood Carving, Steeton
When we first found this, in April 2009, I was out looking for the remains of an old well (called Jane Well, a few hundred yards west of here). The heaven’s opened and I ended up in the woodland and then found the field full of large rocks, some seemingly used by man in more recent centuries, atop of the woods, and so had to check them out! But this was one of the first stones we found.
Currer Woods Stone
The rock itself, as the photo shows, appears to have had one end of it split or broken off (not unlike one edge of the Hanging Stones, Ilkley Moor) at some time in the past, intruding on the arc, or line, beneath which are two distinct ‘cups’. A possible third cup-marking and other linear aspects seem apparent, with the design giving the distinct impression of a face. I keep meaning to go back and get a rubbing of the carving, but aint got round to it yet. When (if!) I gerrit done, I’ll add it onto this profile.
And although there are said to be no other prehistoric remains close to this old carving, the fields a coupla hundred yards west used to be called the Barrow Fields, where tombs were once found; and a little further along the same geological ridge atop of the excellent Kirk rocks, possible cup-markings scatter the edges of two sections — but they’re a little dubious; then there’s the Dragon Stone and associated cup-marked stone not far away. In the adjacent woods are the remains of old walling, but I’ve not found other carvings hereabouts. However, the rule tends to be: “where there’s one, there are more!”
This takes a bitta getting to and won’t really be worthwhile unless you’re a rock-art nut! I s’ppose if you’re looking at the other decent cup-and-ring stones on the summit of Addlebrough, it might be worth looking at. In which case, walk a coupla hundred yards southeast towards where the walling meets and climb over. The walk a little further in the same direction and once you’ve gone less than 100 yards, look around. You can’t really miss it if you potter about.
Archaeology & History
Single cup-marked stone (photo by Richard Stroud)
This possible single cup-marked stone appears to have been discovered before me ‘n Richard Stroud got to the spot, by none other than Stan Beckensall himself — or at least it’s in Stan’s Prehistoric Rock Art of County Durham, Swaledale and Wensleydale book, where he describes it as it only can be done: “a single possible cup-marked stone…SSE of the summit cairn”, which is where you find this. (Another single cup-marked stone found nearby by Barbara Brown aint the same one as this.)
References:
Beckensall, S. & Laurie, T., Prehistoric Rock Art of County Durham, Swaledale and Wensleydale, County Durham Books 1998.
Follow the footpath running from the Rivock TV mast northwest, where it cuts diagonally across the field, heading towards the drystone wall. About 200 yards before the walling – stop! It’s just to your right-hand side, very close by!
Archaeology & History
First discovered in July 2009 when Keighley volunteer, Michala Potts of Bracken Bank, did further ramblings amidst the long grasses hereabouts. Its name comes from the fact that it’s found just next to the footpath that cuts across Rough Holden from the TV mast beneath Rivock. The carving’s a very simple plain design, as the photos show, with just three faded cup-markings etched onto the stones northeast face.
Close-up of cup-markings
This stone aint too far from the cup-marked Dump Stone and the nearby Rough Holden design, but all across the Holden Rough grasslands are the faded remains of old pit-workings. It makes you wonder just how many other carvings once existed across this flatland. The fact that this and the other ones nearby still remain is damn fortunate!
