Follow the directions to reach Panorama Woods carving 232. Barely a yard or two southwest across the small gap where the kids have their little den or hideout, this long curvaceous rock is the fella in question.
Archaeology & History
Cup-markings on the rock
Curiously not included in the ‘official’ records, this large piece of rock, living right in between the Panorama Woods carvings 231 and 232, has at least two, possibly three faint cup-marks etched in the top northeastern portion of the rock. Of the same style and probably period as the basic designs on stones 230 and 231, this is one in a cluster of petroglyphs that used to live at the edge of a prehistoric enclosure, destroyed at the end of the 19th century.
References:
Bennett, Paul, Of Cups and Rings and Things, unpublished: Shipley 1981.
Bennett, Paul, The Panorama Stones, Ilkley, TNA: Yorkshire 2012.
Take the Wells Road from Ilkley centre up towards White Wells, bending to the right as you hit the edge of the moor. Keep along the road, past the old college building with its lake and turn right up Westwood Drive. Keep going all the way up till you hit the small woodland on your right. Where the woodland ends – stop! Walk into the trees about 10-15 yards and you’ll see the large rocks ahead of you. Amongst other petroglyphs hereby, you’ll find this carving is on one of them.
Archaeology & History
Close-up of deep cups & grooves
Although only given the usual dry description by our academic catalogue chaps, there’s something about this design that I’ve always liked. We first came across it ourselves in the late 1970s, in search of the legendary Panorama Stones, and found instead this large enclosure design with at least three cups inside it, still clearly visible. It is one of a cluster of carvings hereby, all of which were once adjacent to a prehistoric enclosure, described in the 1880s and destroyed soon after. This and the associated carvings very probably had some archaeocentric relevance to the lost enclosure.
Large carved ‘enclosure’, recently chalkedDrawing of the carving (after Hedges 1986)
The carving is sandwiched in between its petroglyphic companions, stone 231 and stone 233. As can be seen on some of the photos here, more recent vandalism has been inflicted on this carving and the recent chalk colouring is what local archaeologists Gavin Edwards and Alex Gibson have termed “social history”, implying fallaciously that cup-and-ring art could be seen as little more than neolithic and Bronze Age scribblings on rock, without any meaning other than it being comparable to “Leeds United Rules OK.” They may be right (highly unlikely) – but in reading copiously about prehistoric petroglyphs in cultures beyond the UK, we find that traditional societies tell such carvings relate to their creation myths, or river spirits, or rock spirits, and are intrinsically related to wider animistic cosmologies and social customs. This indicates, to me at least, that modern archaeologists who think of rock art as little more than childish scribblings still have a great deal to learn and we should beware their uneducated musings about our ancient carvings.
Although the complete carved ‘enclosure’ and its internal cups were mistakenly drawn in John Hedges (1986) survey, he described as being a,
“Roughly incised ‘enclosure’ with five cups in it, twenty eight shallow cups or depressions, one large oval marking, three irregular basins.”
In the later work of rock art students Boughey & Vickerman’s (2003), they simply said of the site:
“Large flat-topped, upstanding rectangular rock. Twenty-eight shallow cups, a few enclosed in two groups by grooves; irregular small basins.”
References:
Bennett, Paul, Of Cups and Rings and Things, unpublished: Shipley 1981.
Bennett, Paul, The Panorama Stones, Ilkley, TNA: Yorkshire 2012.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
A number of very large prehistoric burial mounds, or tumuli, were destroyed in this part of Dorset in the 19th century, including “three on the Came estate, near Dorchester, the property of the Hon Col. Damer.” This one—listed as a “bowl barrow” and known today as the Winterborne Came 18b tumulus in Grinsell’s (1959:148) brilliant survey—was found to house examples of petroglyphs, which are very rare in this part of Britain. Thankfully before its destruction, the local antiquarian Charles Warne (1848) was present and has left us with a good description of its structure and contents. After first telling of the demise of two other large tumuli close by, the biggest of them drew his attention:
“The last of these mighty mounds (and well do they merit the appellation from their vastness), measured rather more than ninety feet in diameter, and sixteen feet in height; this from the peculiarity of its contents was the most interesting of the three. The annexed rough sketch (above), shewing a central section of the tumulus, may serve to give some idea of the singularity of its composition. About the centre, at a depth of some three feet from the surface, was found lying flat a rough unhewn stone, with a series of concentric circles incised; this, on being removed, was seen to have covered a mass of flints from six to seven feet in thickness, which being also removed we came to another unhewn irregular stone, with similar circles inscribed, and as in the preceding case, covering another cairn of flints, in quantity about the same as beneath the first stone. It was in this lower mass that the deposits were found, consisting of all the fragments of an urn of coarse fabric, and apparently as if placed in its situation without either care or attention, no arrangement of the flints being made (as we have elsewhere seen) for its protection; the want of which observance had completed its destruction. Under the flints, lying at the base, were the remains of six skeletons, and some few bones of the ox. The skeletons had apparently been placed without order or regularity: with the exception of a few bits of charcoal with the urn, there was no evidence of cremation.”
Nearly twenty years later, Sir James Simpson (1867) also described the tumulus and its carved rocks in his 19th century magnum opus, repeating much of Warne’s earlier description, saying:
“In his antiquarian researches in this county (Dorset), Mr Warne opened , at Came Down on the Ridgeway, a tumulus of rather unusual form. At its base…were found the remains of six unburnt human skeletons…and some few bones of the ox. Above them, and in the centre of the tumulus, was built up a cairn or heap of flints around a coarse and broken urn, which contained calcined bones. This mass of flints was surrounded and covered by a horizontal rough slab. Above and upon this slab was built another large heap of flints, six or seven feet in thickness. This second heap was capped with another rough slab, lying two or three feet below the surface of the tumulus. Both these flat unhewn covering slabs had a group of concentric circles cut upon them.”
We don’t know for sure the exact whereabouts of the tumulus, nor the age of the tomb and its remains. But the size of it may indicate an early Bronze Age and perhaps even neolithic status. The finding of the rock art in the tomb is also an indicator that could push the date back into late neolithic period—but we may never know for sure…
References:
Grinsell, Leslie V., Dorset Barrows, Dorset Natural History & Archaeological Society 1959.
Royal Commission on Historical Monuments (England), An Inventory of Historical Monuments in the County of Dorset – Volume 2: South-East, HMSO: London 1970.
Simpson, James, Archaic Sculpturings of Cups, Circles, etc., Upon Stones and Rocks in Scotland, England and other Countries, Edmonston & Douglas: Edinburgh 1867.
Warne, Charles, “Removal of Three of the Large Tumuli on the Came Estate, near Dorchester,” in Journal of the British Archaeological Association, volume 3, 1848.
Warne, Charles, The Celtic tumuli of Dorset: An Account of Personal and other Researches in the Sepulchral Mounds of the Durotriges, J.R. Smith: London 1866.
Troublesome to get to unless you’re reasonably fit. Probably the easiest route is to get to the Duncroisk 3 cup-and-ring stone. Keep walking along the riverside, climb over the first tall wooden fence and onwards till you reach the rocky crag reaching into the river Lochay. By whichever means possible, get yourself up and round this crag, but keep by the riverside till you get to the easier walkable rocky outcrop protruding into the river on the other side of the drop. Hereby, on one of the stones, look and you’ll find these faint cup-and-ring symbols.
Archaeology & History
Although this carving was first described in Edward Cormack’s (1952) essay on the prehistoric carvings of the district, they have subsequently proved difficult to locate by the Royal Commission lads and other archaeologists. I’ve been here a few times looking for it and never managed to find it — until last week. When Mr Cormack first told of the design, he said:
“On a smooth rock surface just above the mouth of the small burn running into the Lochay, immediately west of the cup-marked ridge, are two cup-and-ring markings a yard apart. The rings are curiously rough edged, and do not give the same impression of weathering as those on the ridge; possibly they have been silted over shortly after being cut, and exposed again relatively recently.”
Flambeau the Cat uses the carving as his bed!
A few decades later, Ron Morris (1981) came across the carving, 10 yards “southeast of an elbow of River Lochay”, as he put it. Described as “hard to find”, he went on to give a basic outline of the design as he saw them, telling there to be “2 cups-and-one-ring, both probably complete, up to 16cm (6in) diameters, with radial grooves from cup to ring—up to 1cm deep.” Or more simply, two cup-and-rings, each with a line running from the centre to the surrounding ring.
After trying to find this carving on several occasions, without success (somehow!), it was brought to my attention under the brilliant guidance of a local cat called Flambeau only last week (no lies!). In a venture down to the riverside, the great cat (in tandem with Pip the dog, who also ventures out with me to find ancient sites in this region) got to the riverside on the rock in question and began rolling about in the dust on the stone, mewing and purring away merrily! It was really brilliant to watch. Sincerely heart-warming (soz…but I can’t help it!).
Primary cup-and-ring at Duncroisk (2)
I stepped over and complimented him as he looked superb (hence the photo, above) and he just kept purring. Then, curiously, he stood up and began scratching at the dried earth on the rock, mewing away whilst doing this. Twas very odd indeed. But there, exactly where Flambeau has been scratching and rolling about, it seemed a faint cup-mark was apparent. And such it was! So I got on my knees and began cleaning away the dirt from the rock — and there, right where he’d been purring and playing, was the lost cup-and-ring carving!
Its location would suggest that the carving had some relationship with water: be that the spirit of the place, or a good site where fish can be had, or a place where someone had drowned, etc. We’ll probably never know… But it’s a beautiful spot, with the impressive Stag Cottage carvings in the adjoining field, and the newly discovered Corrycharmaig East carvings on the other side of the river — plus many others in the area.
Folklore
The River Lochay where this carving is found is named after a dedication to the Black Goddess, according to Prof. W.J. Watson. (1926) The stream by the side of the carving which runs into the River Lochay has been the place where faerie music has been heard by local people in times past.
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR: Oxford 1981.
Royal Commission on the Ancient & Historical Monuments of Scotland, Archaeological Sites and Monuments of Stirling District, Central Region, Society of Antiquaries of Scotland 1979.
Watson, W.J., The History of the Celtic Place-names of Scotland, Edinburgh 1926.
Not hard to find. Between the small towns of Comrie and St. Fillans along the A85 road, keep your eyes peeled for the small but rocky crags that rise in front of the background of dramatic mountains not far from the roadside to the south. It looks truly majestic even on a dull day. Just as you reach the eastern edge of St. Fillans village, take the small road over the river-bridge and go to the golf club. Walk past the golf club itself, keeping along the track that leads you to Dundurn hill. It’s easy enough. Then climb to the very top of the hill where you’ll find this curious, large, flat bed-like rock right in front of you!
Archaeology & History
St Fillan’s rocky bed or ‘chair’
The archaeological data for St. Fillan’s Chair relates more to the folklore practices of the people upon Dundurn hill than anything else and ostensibly little can be said by such students. The place is more satisfying for geologists than archaeologists, who would adore the rocky fluctuations and geophysical propensities with greater verve than any archaeologist could muster! For this rocky bed-shaped feature is a fascinating structure whose only potential interest to archaeologists are what may be a couple of reduced cup-marks on the top of the stone (and even then, such potential rock art is more the province of religious historians and anthropologists than archaeologists).
Small quartz offerings left on St Fillan’s Chair at BeltaneView of the Chair from below
But this ‘bed’ or ‘chair’, as it was locally known, was – and it seems, still is – important in the social history of the area, as its folklore clearly tells. The ‘chair’ plays an important part in the holistic role of Dundurn as a hill, a fort, a healing centre, an inauguration site, and very probably an omphalos: a sacred centre whereupon the ordination of shamans, kings and the cosmos as a whole was brought to bear here… (these features will be explored in greater depth when I write a singular profile of Dundurn as a ‘fort’).
Folklore
Looking west over St Fillan’s Chair
The character of St. Fillan was described by James Cockburn (1954) as “an Irish Pict” and the “son of a King – his father being Angus mac Nadfraich who died in battle in 490 AD.” Quite an important dood in his day! The relationship this early christian figure had with this Chair was in its supposedly curative properties. Yeah…you read it right: curative properties! As with countless rocks all over the world, some of Nature’s outcrop boulders were imbued with a spirit of their own and, when conditions and/or the cycle of the spirit ‘awoke’, healing attributes could be gained from the place. And such was the case at St. Fillan’s Chair, especially on Beltane morning (May 1). And some element of this traditional pilgrimage is still done; for when the author Marion Woolley and I visited the site on Mayday 2013, it was obvious that some people had been up earlier that Beltane morning and left some offerings of quartz stones on the top end of the bed.
The earliest written reference of this medicinal virtue was told in the Old Statistical Account of Perthshire (1791):
The rock on the summit of the hill, formed, of itself, a chair for the saint, which still remains. Those who complain of rheumatism in the back, must ascend the hill, sit in this chair, then lie down on their back, and be pulled by the legs to the bottom of the hill. This operation is still performed, and reckoned very efficacious.
More than a hundred years later, the sites was still being used and was described in similar vein in MacKinlay’s (1893) excellent study:
“On the top of green Dunfillan, in the parish of Comrie, is a rocky seat known in the district as Fillan’s Chair. Here, according to tradition, the saint sat and gave his blessing to the country around. Towards the end of last century, and doubtless even later, this chair was associated with a superstitious remedy for rheumatism in the back. The person to be cured sat in the chair, and then, lying on his back, was dragged down the hill by the legs. The influence of the saint lingering about the spot was believed to ensure recovery.”
The origins of this dramatic rite were probably pre-christian in nature and we should have little doubt that St. Fillan replaced the figure of a shaman or local medicine woman of some sort. The ritual “dragging down the hill” may be some faint remnant of initiation rites…
References:
Cockburn, James H., The Celtic Church in Dunblane, Friends of Dunblane Cathedral 1954.
Eliade, Mircea, Rites and Symbols of Initiation, Spring: Woodstock 1995.
Along the A827 Loch Tay road between Morenish and Lawers, take the track uphill where Carie farmhouse and Tombreck are either side of the road. Walk up this track 2-300 yards till you go through the gate just past the sheep-folds on your left. Ahead of you is a small grassy hillock on your right – go to the top of it, where you’ll find one of them has a row of cup-markings on its northern edge.
Archaeology & History
This is a reasonably large boulder near the top of the hillock above the trackside. Several rocks have what may be single cup-markings on them, but this roughly oblong-shaped block has four or five of them running along the more northern edge of the stone, in a rough line sloping gently down the surface of the rock. No carved rings or other lines were immediately notable here. It’s nothing special to look at and will probably be of interest only to the hardcore petroglyph enthusiasts amongst you. However, there are many more ornate cup-and-rings found further along the ridges close by (which we’ll add as the weeks and months go by); as well as the remains of a prehistoric enclosure about 200 yards southeast. The small standing stone of Carie is roughly the same distance to the south.
Cup-marks visible along the edge…and from above
(Note: although I’ve listed this as the ‘Tombreck 01’ carving, this is likely to be revised in the near future as there is a large gathering of carvings all around this area. The region is still being surveyed and the designations of the petroglyphs will be revised as and when they are recorded more fully, or if/when a detailed published account catalogues them satisfactorily.)
References:
Currie, George, “Kenmore: Tombreck (2-4), Cup-and-ring Marked Rocks,” in Discovery & Excavation in Scotland, New Series volume 10, 2009.
Currie, George, “Kenmore: Tombreck (5-7), Cup-Marked Rocks,” in Discovery & Excavation in Scotland, New Series volume 10, 2009.
The concentric ring carving shown here was found on the north side of the large gardens at Leaston House early in the 20th century. It was first reported by the Royal Commission (1924) boys, who told us that the small free standing stone measured 2½ feet long and was 1¾ feet wide, consisting of 5 concentric rings about 15 inches across. No central cup-marking existed in the middle of this carving — like the Grey Stone at Harewood and a small number of other multiple-ringed petroglyphs. No other notes were made about any other associated monuments. The carving was included in Ron Morris’ (1981) survey, with no real additional material. Although the Canmore report told that the carving could be found “in a rockery bordering the lawn north of Leaston House,” its present whereabouts remains a mystery.
Only known photo of the stone
This is one of a number of cup-and-ring stones that have been ‘lost’, either through destruction or through some dood simply taking it for their own private collection (a practice even the modern rock art student, Paul Brown, has openly admitted in one of his books). Not good. This lost Leaston Hall carving was probably “acquired” by some local and probably rests either in their garden or hall somewhere. If anyone knows where it hides, please tell us — as this is an important carving.
Morris, Ronald W.B., “The Cup-and-Ring and Similar Early Sculptures of Scotland; Part 2 – The Rest of Scotland except Kintyre,” in Transactions of the Ancient Monuments Society, volume 16, 1969.
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR: Oxford 1981.
Royal Commission on the Ancient & Historical Monuments of Scotland, Inventory of Monuments and Constructions in East Lothian, HMSO: Edinburgh 1924.
Acknowledgements:
With thanks to Janet Donaldson-Elder for the place-name correction!
Probably the easiest (direction wise) is if you’re coming from Dick Hudson’s public house on the southern road surrounding Rombalds Moor. From the pub, head left (east) along Otley Road (passing Weecher reservoir) for 1.9 miles (3.1km) until you reach Reva reservoir where a track leads you to the waters. A small parking spot is on the left-side of the road. From here, go through the gate and along the footpath across the field for nearly 300 yards to the next gate; go through here and walk to your right for about 60 yards where uyou’ll reach a small straight dyke (keep your eyes peeled!) running NW (to your left): walk along here for nearly 200 yards until it hits another shallow dyke bearing right; follow this dead straight for 35 yards after which it changes direction, but you need to keep walking straight on forward for another 60 yards or so. Look around!
Archaeology & History
First photo of the carving
This carving is one in a cluster of previously unrecorded petroglyphs, uncovered in the summer of 2011 during a Northern Antiquarian bimble on the northern edge of Rombald’s Moor. The carvings were found as a bi-product of uncovering a previously undiscovered cairn circle, close to the Twelve Apostles stone circle. In assessing and exploring the newly-found circle, it was noticed that a small opening in the near horizon highlighted a rise in the landscape barely a mile away. This ‘opening’ in the land was not visible if you walked 25 yards either side of the cairn circle – but was very notable at the circle itself.
“We need to have a look at that site,” I said. “It’s position looks to have been relevant to this circle.” (or words to that effect) And a couple of weeks later we met up and walked to the place in question.
Fraggle Rock carving, looking westFraggle Rock carving, looking south
Within five minutes we came across a couple of previously unrecorded cup-marked stones, of simple design, right in line with the cairn circle. As we walked around this spot, then headed back in the direction of the circle, a cluster of small stones were noticed on the slope. One had what looked like a single cup-marking near its edge, but the rest of the rock was completely covered in vegetation. Paul Hornby and Michala Potts had, by now, already found several other previously unrecorded cup-marked stones close by; but as I carefully rolled back the vegetation at the edge of this particular rock, cups-and-rings and carved lines seemed to be covering most of its surface. It was a good one!
Face on the Fraggle Rock
We called it the Fraggle Rock after noticing that when you look at the stone from one end, the two main cup-and-rings are likes two large eyes carved above a large natural down-turning ‘mouth’ feature, similar to some of the creatures’ faces on the muppets or the similar kid’s TV show, Fraggle Rock! (sad aren’t we!?) The photo here shows you what we mean.
The primary design consists of at least 3 cup-and-rings, 2 partial cup-and-rings, 28 cups and several carved lines along which some cup-markings are linked to others. The most notable of the carved lines is the longest (barely visible in the photos), running from a single cup-mark at the southernmost rounded end of the stone, almost straight and parallel with a natural ridge or dip along the rock, until it meets the largest of the cup-and-rings (one of the eyes on the Fraggle’s face!). Don’t ask me why, but for some reason this long faint line seemed the most perplexing element of the carving.
Eastern edge with low cupsCup-marks on rock edge
Most of the design is carved on the upper face of the stone, but a small part of the rock dips into the ground on its eastern side and a small group of cups and a single carved line, in a very good state of preservation, are etched right at the edge of the stone. Unusual. Another faint cup-and-ring is less than 100 yards west; and a fascinating cup-and-lines stone, with at least four long carved ridges running like hair from the top of the stone into the Earth, is a short distance to the north. A number of others are in this and adjacent fields.
One of the first photos, just as the mud had been cleared
This carved stone was rediscovered by Michala Potts on the rainy afternoon of August 26, 2011, on a Northern Antiquarian excursion to explore some of the cup-and-rings on Ilkley Moor. The entire stone was totally covered in soil and leaves, and Michala spent some considerable time carefully clearing the dead vegetation to unveil the carvings beneath.
Close-up of cups & scars
This carving has at least 12 cup-marks on its slightly inclined surface, with several artificial carved lines and some that are obviously geophysical in origin. (we really could do with a geologist with a cup-and-ring fetish to accompany us on some of our outings!) But the main feature of this carving — as the photos here illustrate — appears to be the natural crack that runs up through the middle of the stone, either side of which have been etched a number of cup-markings attached by small lines or ‘branches’, giving the distinct impression of a tree. Whether this was a deliberate artistic feature (a tree), or just another Rorscharch response to non-linear systems on our behalf (more probable), we’ll never know. On the moors northeast of here on the other side of the Wharfe valley, the Tree of Life Stone acquired a similar association due to its design; but this Ilkley design, sadly, aint quite as good as the one on Askwith Moor.
Tree Stone, showing modern industrial scars
There are some puzzles on this stone aswell. Other lines scar the rock which are definitely man-made, but they are of a different nature and age. The marks have been scarred by more modern metal tools, or were caused by heavy metal machinery that have rested on the rock at some time in the not-too-distant past. You can see the curved deep scratches in the photo here to the right. It seems likely that when the modern houses were built straight across and above here, this cup-marking was damaged by the workers — although they didn’t know it was here as the stone had not been catalogued by the Ilkley archaeologists. But there’s also another peculiar feature on this stone. Someone a century or two ago also carved other fainter features into the stone, seemingly lettering, on the northeast edge of the rock. They can be seen faintly on the second photo, above.
Similar in size and appearance to one of the cup-marked Tuilyies standing stones in Fife, Scotland, it was our old ley-hunter, Alfred Watkins, who described this stone in his Ley Hunter’s Manual (1927), along with giving us the old photograph taken by one of his mates here, which also showed the cup-and-ring carvings near the base of the stone. Are they still visible? (I’ve not been here, hence mi ignorance!) Watkins thought the cup-markings at the bottom represented some of the local leys—but unfortunately they don’t.
Folklore
Legend says that the deep grooves running down the stone were made by men sharpening arrow-heads on it (like a whetstone). There was also the usual christian Victorian fable that the stone was used by the druids and that the grooves on the stone were where the blood of their human sacrifices was channelled to the ground! The stone was also said to have some relationship with the nearby Calder Stones (which seems probable).
References:
Cowell, Ron, The Calderstones – A Prehistoric Tomb in Liverpool, Merseyside Archaeological Trust 1984.
Watkins, Alfred, The Ley Hunter’s Manual, London 1927.
