As with other carvings in this locale, the name of the stone is based on a survey done by Maarten van Hoek. (1996) It’s a pretty simplistic design within the impressive Castleton complex, found at the southeastern end of the gorse-covered rocky ridge, about 70-80 yards west of the farmhouse. It was uncovered on a visit here by Nina Harris, Paul Hornby, Frank Mercer and Lisa Samson on Sunday 19 November, 2018.
The cup-marked stoneLarge cup & arc of 3
Unlike the others in the Castleton complex, this carving is probably of interest only to the hardcore petroglyph hunters. The design consists of at least ten cup-marks on the uncovered section of the rock, one of which appears to have a broken circle with two ‘entrances’ either side of it, so to speak. The most notable element in the design is close to the edge, where an arc of three cups almost corners a larger cup right at the edge. There may be more carved elements to be found on the westerly side of the stone, which was covered in deep vegetation when we came here.
References:
van Hoek, Martin A.M., “Prehistoric Rock Art around Castleton Farm, Airth, Central Scotland,” in Forth Naturalist & Historian, volume 19, 1996.
If you’re travelling from Stirling or Bannockburn, take the B9124 east to Cowie (and past it) for 3¾ miles (6km), turning left at the small crossroads; or if you’re coming from Airth, the same B9124 road west for just about 3 miles, turning right at the same minor crossroads up the long straight road. Drive to the dead-end of the road and park up, then walk back up the road 350 yards to the small copse of trees on your left. Therein, some 50 yards or so, zigzag about!
Archaeology & History
Petroglyphs can be troublesome things at the best of time: not only in their ever-elusive root meanings, but even their appearance is troublesome! This example to the east of Cowie in the incredible Castleton complex is one such case. It is undoubtedly a multi-period carving, probably first started in the neolithic period, added onto in the Bronze Age, and maybe even finished in the early christian period. You’ll see why!
It’s been described several times in the past, with Maarten van Hoek (1996) telling how it was rediscovered,
“by Mrs Margaret Morris in 1986 in the birch-coppice at Castleton Wood. A fragment of outcrop rock with a distinct cup-and-three-rings, rather oval-shaped like others in the area.”
The main cup-and-3-rings (photo, Paul Hornby)
But as our own team found out, there’s more to it than that. Like many of the Castleton carvings, vital elements have been missed in the previous archaeological assessments. But it’s an easy thing to do. The carved design here almost ebbs and flows with daylight, shadows, changes in weather, bringing out what aboriginal and traditional peoples have always told us about rock itself, i.e., it’s alive, with qualities and virtues that can and do befuddle even that great domain of ‘objectivity’—itself an emergent construct of an entirely subjective creature (humans). But that’s what petroglyphs do!—whether they are part of a living tradition, or lost in our striving modernity, exhibiting once more that implicit terrain of animism. And this carving exemplifies it very clearly.
The primary visual design is the odd triple-ring, which isn’t quite as clear-cut as the earlier descriptions would have you think. In the drawing below by van Hoek (1996), three complete elliptical ‘rings’ are shown; whereas on its northern edge where the outer ring is closest to the rock edge, we find that the ‘ring’ has carved lines that run off and down the slope of the stone towards ground-level. It also seems that from the inner second-ring, a natural scar in the rock has been heightened by pecking, creating an artificial carved line running from near the centre and ‘out’ of the three rings. You can make this out in the accompanying photo, above.
van Hoek’s 1996 sketchThe more complete design
Additionally we found two very faint carved ‘eyes’ or trapezoids pecked onto the stone, obviously at a much earlier date than the notable triple-ring—which could almost be modern! They would no doubt have excited the old archaeologist O.G.S. Crawford (1957), whose curious theory of petroglyphs was that they were images of some sort of Eye Goddess. Archaeo’s can come out with some strange ideas sometimes…
Fainter still was another triple-ring—albeit incomplete—with what appears to be a very small central cup-mark, just below and between the two ‘eyes’. It was first noticed by Paul Hornby when he was playing with the contrast settings on his camera, in the hope of getting clearer photos of any missing elements.
Very faint triple-ring, bottom-left of photo (photo by Paul Hornby)
“Can you see this?” he asked. And although very faint indeed (on most days you can’t see it at all), it’s undoubtedly there: another multiple-ringer all but lost by the erosion of countless centuries, and older still than the ‘eyes’ above it. In all the photos we took of this stone, from different angles in different weathers (about 100 in all), this very faint triple-ring can only be seen on a handful of images. But it’s definitely there and you can see it faintly in the attached image (right) to the bottom-left.
A final note has to be made of a possible unfinished, large circular section with a cross carved into the natural feature of the stone, first noticed by Lisa Samson. It’s uncertain whether this has been touched by human hands (are there any geologists reading?), but it’s something that we’re noticing increasingly at more and more petroglyph sites. They’re not common, but it has to be said that we found two more man-made ‘crosses’ attached to multiple cup-and-rings near Killin just a few weeks ago. Also, folklore tells us that not far from this Castleton cluster, a christian hermit once lived….
References:
Crawford, O.G.S., The Eye Goddess, Phoenix House: London 1957.
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR: Oxford 1981.
van Hoek, M.A.M.,”Prehistoric Rock Art around Castleton Farm, Airth,” in Forth Naturalist & Historian, volume 19, 1996.
Acknowledgements: Huge thanks as always to Nina Harris, Fraser & Lisa Harrick, Paul Hornby, Penny & Thea Sinclair, for their additional senses and input.
If you’re coming via Castleton Farm, at the back of the farm go through the gate on the right, by the corner of the field and walk along the line of the wall for 200 yards northwest until you approach the small copse of trees ahead of you. Just before the trees, instead, walk up the slope, SW, to the other small copse, and about 15 yards along the line of trees, go into them. Keep your eyes peeled on the upwards sloping ground where a gap in the greenery shows you the stone in question!
Archaeology & History
This is an odd one. Amidst the array of truly ancient and well-eroded multiple cup-and-ring stones in the incredible Castleton complex, this small design on the northeast slope away from the main cluster, has a distinctly different appearance about it when we compare it to the others along the ridge. It’s not been done by the same person or people who carved the more ornate designs close by. Indeed, it seems that it wasn’t even done at the same period but has a history that is much more recent.
The carving, as you can see in the photos, has a somewhat scruffy look about it when compared to the more usual designs. If it’s prehistoric, it has the hallmarks of being done by someone with rock art dyslexia! My own view is that it’s a pretty recent carving. It’s possible, perhaps, that it may have been executed by a medieval christian priest who lived a short distance to the east and whose cross markings are evident on at least one of the other cup-and-rings hereby. But the carving might be even more recent: perhaps 19th Century in origin. It just doesn’t have that air of authenticity about it, as any seasoned petroglyph officionado would tell you. And we have to bear in mind that this was the site of a quarry in the 18th and 19th century, so the carving might have been done at that time by one of the workers to mimic the very ancient and faded designs close by. Anyhow…
The design consists of two distinct and deeply carved rings around a central raised point, in which it looks as if someone started to create a cup-mark, but never finished the job! The same can be said of an third outer-ring, whose faint outline is clearly visible in decent light, but which was started but never finished. Make of it what you will. When we first found this carving in 2019, someone had been up and already peeled back the turf (“there were a group o’ folk,” the farmer told me), thankfully showing the carving in its crude glory. The Canmore website informs us that the stone was first unfurled by George Currie in 2006, who said that it was little more than “a ring surrounded by a central boss”—but there’s clearly more to it than that and I wonder if this is actually the same carving that Mr Currie found.
Note: The name of this and the other carvings in the Castleton complex need completely re-designating into an accurate order, as they’ve been defined and redefined by various authors and groups over the years, leaving them in a disorganized haphazard mess.
