Take the road up alongside and past Shipley Glen, taking the turn to go to Crook Farm caravan site. Go right to the very end of the car-park, then walk up the footpath through the trees on your left. Keep going uphill about 100 yards by the field-wall until the land begins to level out – and shortly before the first gate into the field (on your right) keep your eyes peeled for the triangular stone in the ground, barely 10 yards away from the walling. Alternatively, from the entrance into the Dobrudden caravan park walk to the far-end of the level area in front of the little cafe and walk along the footpath that crosses the grassland to the walling nearly 300 yards away (south). Follow the wall down below the gate and zigzag about. You’re damn close!
Archaeology & History
Crook Farm north carving
For some reason this has always been one of my favourite cup-and-ring stones on Baildon Moor and it’s well worth checking out if you visit the area! It was rediscovered by the Bradford historian W.E. Preston, who photographed the carving around 1912. Shortly afterwards he took fellow historians Joseph Rycroft and W. Paley Baildon to see this (and others he’d located) and subsequently both a drawing and Mr Preston’s photo of the site was included in Mr Baildon’s (1913) magnum opus the following year.
As you can see from the relative photos—with literally 100 years between them—erosion hasn’t taken too much toll and this neolithic or Bronze Age carving remains in very good condition.
Rycroft’s early drawingPreston’s 1912 photo
Covered with upwards of fifty cup-markings, there are also two cup-and-rings and numerous carved lines meandering around and enclosing some of the many cups. One cup-mark was cut into the narrow end or ‘nose’ of the stone.
It’s a fascinating design, with another ‘Cassiopeia’ cluster of cups in one section, beloved of archaeoastronomers who explore these stones. Mr Rycroft’s drawing of the design (left) is perhaps the best one, to date.
Along this same ridge there are remains of other prehistoric sites, more cup-and-rings, remains of prehistoric walling and what may be a small cairn circle (to be described later).
References:
Baildon, W. Paley, Baildon and the Baildons – parts 1-15, Adelphi: London 1913-1926.
Bennett, Paul, Of Cups and Rings and Things, unpublished: Shipley 1981.
Bennett, Paul, Megalithic Ramblings between Ilkley and Baildon, unpublished: Shipley 1982.
Go thru Killin and, just past the Bridge of Lochay hotel, take the tiny road on your left. Go down here for 3 miles till you pass the gorgeous Stag Cottage (with its superb cup-and-rings in the field across the road) for another 300 yards, until you see Duncroisk Farmhouse set back on your right. On the other side of the road, go thru the giant deer-gates (close ‘em behind you) to the river-bridge and across it. Walk along the track till you reach the turning to Corrycharmaig House on the right (over the stream), but here, go up into the field thru the gate. Walk up the hill ahead of you with its trees on the left, walking up onto the grassy level, over the deer-fence, then up again to the rounded knoll another 100 yards up. You’re here!
Archaeology & History
On my first visit to this stone, in overcast and wet conditions — the easternmost of at least four separate carved rock faces along the same geological ridge — I only noticed a handful of cup-marks etched onto the northeastern section of the stone. But I was sure there were supposed to be more. And when I returned home to check up, found that Ron Morris (1981) said there were “40 widely scattered cups of which, however, 29 well-defined cups are in a compact group, of which 6 are in a line.” Much more than what I saw! And when I checked further, it was evident that even more cup-marks were once visible on the rock. In the very first description of this carved stone, E.A. Cormack (1952) told:
“On the easterly area there are about 70 small cups, roughly one inch in diameter, in groups of ten to twelve. Most are on the flatter rock surface, but some are on the steeper slope facing south, which also bears the marks of deep glacial scorings.”
A sample of cups on ‘Corrycharmaig 1’
So on our visit here again a few weeks ago when we stayed at Corrycharmaig house*, a couple more visits allowed a slightly better investigation, albeit in even wetter and cloudier conditions than our first visit! And the more we looked, the more we could see; and it was plainly evident that a number of cup-marks had become receptacles for moss-growth! We counted at least 40 cup-markings on this ‘Corrycharmaig 1’ stone, but it seemed pretty obvious that beneath the grasses and vegetation, more carvings would be found.
Walking SSE along the same rocky ridge brings you to the other rock faces of Corrycharmaig (2), (3) and (4) — all with their own carvings. Corrycharmaig 2 possessing the only known complete cup-and-ring on the ridge. More carvings remain hidden nearby…
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR 86: 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.
Follow the same directions to get to the Corrycharmaig 3 carving; and just a yard or two to the right of the far western edge of the rock, you’ll see another smaller slightly sloping rock, closer to the fencing, with faint cup-markings. That’s the one! (note that the 10-figure grid reference given here might need adjusting slightly)
Archaeology & History
This small slightly sloping piece of exposed rock is on the western extremity of the Corrycharmaig cluster of carvings, but is a distinctly separate piece of rock from the Corrycharmaig 3 stone (though part of the same outcrop). The stone itself has two sections to it, with a natural crack in the rock defining eastern and western section — both of which possess cup-marks.
The easternmost section of the stone has seven cup-marks, some of which were only recently uncovered. A large single cup-mark sits near the middle of this portion of the rock; this is probably what Mr Cormack (1952) was talking about when he told that, “further west (of the Corrycharmaig 3 carving, PB) is one isolated larger cup of 4-inch diameter.” On the western side of the stone, we find just two or three cup-marks, though one large cup-marking here would seem to be Nature’s handiwork.
It is highly likely that beneath the excessive vegetational growth around this carving and others along this ridge, other sections of prehistoric carvings remain to be found.
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR 86: 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.
Cup-Marked Stone (lost): OS Grid Reference – ST 260 870
Archaeology & History
Rhiwderin cup-marks
This fine-looking cup-marked stone was uncovered during a botanical outing in the last decade of the 19th century. Described as being around the township of Rhiwderin, the exact whereabouts of the carving is unknown and it’s not been seen since the first description of it in an early edition of Archaeologia Cambrensis by Mr T.H. Thomas. (1895) John Sharkey (2004) mentioned the site in his recent survey of Welsh rock art, saying simply “location unknown.”
The missing Rhiwderin stone
Although we know there are no hard and fast rules for working out the location of cup-and-ring markings, one may be fortuitous in exploring any nearby Bronze Age or neolithic tombs (cairns, tumuli, etc) in the Rhiwderin district, as they do tend to enjoy the company of such sites — but I must stress, this is by no means a dead cert!
Mr Thomas’s description of the carving was as follows:
“I enclose a sketch of what seems to be a cup-marked stone which I observed yesterday near Rhiwderin, Monmouth. Unless there be some operation which simulates such markings with which I am unacquainted, I take the specimen to add an instance of these mysterious prehistoric remains to the very short list given for Wales by Mr. Romilly Allen, and to be the first reported for South Wales.
“The stone displaying the cup-markings is a mass of millstone grit, earth-fast, the slanting surface appearing above the turf being about a yard wide, and 4 feet long. Upon the upper half of the surface is a group of twelve cups from 1½ to 2in diameter, and about 1in deep. On first noticing the cups they were taken for holes out of which quartz pebbles, abundant in the local millstone grit, had been weathered, but examination of the block showed that no pebbles of large size exist, or had existed in it, and the conclusion was arrived at that the cups are artificial.
“On turning back some of the turf covering the base of the slope of the stone, no other cups were discovered.
“The stone lies within an old enclosure, as shown by wild apple-trees and an abundance of daffodils, and still more clearly by ruins, which seem those of a cottage or small farm near by. This contiguity to a habitation which does not seem to have been abandoned more than a century, made me suspect some medieval or more recent origin for the markings. I cannot, however, account for them otherwise than by supposing them to be cup-markings in the technical archaeological sense.
“The stone was observed while in the company of Dr C.T. Vachell of Cardiff, searching for varieties of narcissus which occur at several points in the neighbourhood…”
If anyone comes across this lost carving, please let us know!
References:
Sharkey, John, The Meeting of the Tracks: Rock Art in Ancient Wales, Gwasg Carreg Gwalch: Llanrwst 2004.
Thomas, T.H., ‘Archaeological Notes and Queries,’ in Archaeologia Cambrensis, volume 12 (5th series), 1895.
Takes a bitta finding this one – especially a this time of year when the bracken’s high – but it’s worth the walk. You’re probably best finding your way to the open-air carving on the slopes above Westcliff Farm, the Guisecliff Wood 626 carving (it’s pretty easy to find). From here, walk eastwards across the top of the two fields until you hit the old gate that take you back into the woods. Now it gets difficult! Walk less than 100 yards in the same direction, if you’re lucky, along the small footpath that runs pretty level through the trees, keeping your eyes peeled for a large sloping rock above you. I’d say that it’s probably best to start checking the relevant rocks (large ones) after 50 yards in the trees, just to be on the safe side. If you aint been here before it’s probably best to check it out at the end of Winter or during Spring time. Good luck!
Archaeology & History
As noted by several people in our visit here the other day, some aspects of this carving are similar in design to the Tree of Life Stone on the eastern edge of Askwith Moor, 10 miles south of here. But the features on this large carved rock have intriguing elements of their own here: not least of which is the large square ‘box’ into which a cluster of otherwise normal cup-and-rings are enclosed. It’s a unique feature in prehistoric carvings in this part of the world — although such ‘box’ motifs can be seen further north at Dod Law in Northumberland.
The fainter cup-and-ringsBoughey & Vickerman’s 2003 drawing
There are two distinct sections of carvings on the stone, both of which have a similar tree-motif patterns, but the boxed one grabs your attention more once you’ve sat with the stone for a while. The other small cluster of cups are a little more difficult to notice, but once you see them they almost grow into life! You can just make out the surrounding rings and lines around some of these fainter cups, which I tried to capture in the photos (but without much success).
Our visit here didn’t pass without some voicing the thought that ‘box’ section could have been added at a much later date — perhaps a Victorian addition? But we could be way off the mark with that one!
There’s every likelihood of other carvings being found in and above the woodlands here, though any further exploratory excursions here can wait till winter time, as the Nature’s summer growth here is considerable and covers most of the rocks in green. The carving was first described in Boughey & Vickerman’s (2003) text as a
“Very large rock with extensive flat surface on which there seems to be two separate designs. Seven cups are joined in a branch-like pattern, the whole within a square groove from which the ‘stem’ of the branch just protrudes; away from this is an approximately linear feature with three cups enclosed by linked rings at one end and then six more cups with a partial ring.”
If you’re a rock art enthusiast, or a real healthy heathen, this site is well worth checking out!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Take the same directions as if you’re visiting the Eastwoods Cross base and cup-marked stone, but at Eastwoods Farm itself, walk downhill following the field-wall, past the large house, then through the first gate you come to. (it’s got a ‘private’ sign on it and has some handy bulls in the field – but ask at the house and the folks there are friendly) Following the footpath along the top of the field, cross the small stream, then head across the next field to the gap in the wall. You’re here!
Archaeology & History
Boughey & Vickerman’s sketch
One of a cluster of cup-and-ring stones around the Bryan’s Wood and Eastwoods area, this carving is well worth a visit, but can be covered in shit and muck as the bulls pass through the gap here on their daily amble. If the daylight isn’t good here, it can be difficult to see the carving – and when we visited the place the other day, the cloud was low and the heavens were ready to open, so our luck was out for a change! There are a number of cup-and-rings plus a double-ring, fading their ways around the more defined cup-markings. The stone appears to have been found in the 1990s, but records of it are scant. Boughey & Vickerman (2003) fail to tell the origin of the name, nor when or who rediscovered the site. Their description of the carving tells simply:
“Large flat smooth rock sloping slightly to E. Thirteen possible cups, one with partial double ring and four with partial single-rings; three ringed cups have grooves leading from them.”
Several other excellent cup-and-ring carvings can be found around here. The hugely impressive Morphing Stone and a prehistoric lightning-carving can be found three fields away to the south, past the trees on the other side of the stream.
Folklore
Close-up of the stone
The title of ‘fertility stone’ seems a modern one, although word has it that it relates to Beltane fertility rites. However, I can find no documentary information relating to this, and the people at Eastwoods Farm and adjacent house know nothing to account for it.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
From Pateley Bridge take the B6265 road towards Grassington, turning left just a coupla hundred yards over the river bridge, towards Bewerley. Go through the hamlet and take the second on the right, up the steep zigzagging lane. A half-mile up the hill, watch out for the track onto Westcliff Farm. Go along here and onto the footpath, then as you walk through the field, look uphill where the long wall runs into the trees, and you’ll see a rock in the walling near the top. That’s it!
Archaeology & History
Just over the edge of the northern section of The Intakes at the western end of Guisecliff Wood, on a large rock in the walling near the very top of the field above Westcliff Farm, we find this little-known but very impressive cup-and-ring stone.
Close-up of some cupsBoughey & Vickerman’s sketch
Upon first sight the rock was aptly described by Danny Tierney as being like a Viking Hogback Stone with cup-markings along the sloping side of the long rock as it grew into the drystone walling. He had a point! It’s a curious carving (how many times do I say that!?), with the majority of the cup-marks and lines etched into the south-sloping face of the rock. Other cups found further down the stone stretch along the eastern side towards ground level; and we have a small line of cups etched onto the normal horizontal face halfway along the stone.
The carving was rediscovered by Stuart Feather in the ‘Sixties and was all-but-forgotten until Boughey & Vickerman (2003) rejuvenated it in their catalogue. They told it to be:
“Large rock of coarse grit lying with long uneven surface E to W, at ground level to S and E, but with high N and W faces. Up to eighty cups but some may be due to pebbles or other natural causes; one cup has two half-rings which, like some grooves visible, suggest a now incomplete design.”
The fascinating ‘boxed’ cup-and-ring stone of Guisecliff Woods 629 can be found less than 200 yards east of here, in the trees, and is certainly worth seeking out!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Feather, Stuart & Hartley, C.E., “The Yorkshire Archaeological Register, 1964: Bewerley. W.R.”, in Yorkshire Archaeological Journal, volume 41, 1965.
Follow the same directions to get to the cup-marked stone on the slope behind Duncroisk Farm. Once here, look up the hillside and about 100 yards above you there’s the fence, and a gate in the fence. Go through that gate and walk uphill for some 20 yards where you’ll meet with a large sheet of flat sloping rock with a stream by its side. The crosses are on this rock sheet at the top left-hand side.
Archaeology & History
Although the stone here is pretty easy to find, the insignia carved on the rock itself can be troublesome to see. The accounts by both Cormack (1952) and Morris (1981) each recommend visiting the site around sunrise, but an hour before sunset is also profitable if you wanna see the design with any clarity. And of course, if you keep the rock-face wet (the adjacent stream is handy here) the carvings stand out even better!
Main section of carvingSolar cross & arrow?
It’s a quite superb carving in a truly superb setting, come rain, shine or mist — but for the cup-and-ring aficionado’s amongst you this one might not get y’ going, as we’re looking at a carving that was probably born of the more recent mythic period. Although there are between two and four faded cup-markings here, the principal designs do not echo the more usual neolithic and Bronze Age carvings scattering this part of Perthshire. Instead we find very worn examples of what have been variously called “solar wheels”, “Greek crosses”, Celtic crosses, etc. We also find simple carved ‘arrows’ at the ends of both natural and man-made lines in the rock; along with very distinct ‘eye’ or vulva symbolism. (Crawford 1957) Added to this is the possibility of human figurines discernible in the carving, very similar indeed to those found in Spain (Kuhn 1956) and elsewhere.
The site was first described by E.A. Cormack (1952) who wrote the following, (slightly edited) piece:
“Examination of the rough and sloping rock surface revealed an interesting group of inscribed figures, confined to an area of about 8 by 2½ feet, four of which included a cross within a circle. The figures are difficult to discern, except when thrown into relief by early morning sunlight, but are clearly demonstrated on a rubbing.
Cormack’s 1952 rubbing of the carving
“The crosses may be described in three groups:
“Group 1 — a) Near the upper edge of the rock is a cross within a circle of 8-inch diameter. The vertical axis of the cross is extended below the circle for 4 inches, resting on an ill-defined rectangular base, and upwards for 5 inches to form an arrow-head with 3-inch barbs. At the junction of the shaft of the arrow with the top of the circle is a pair of contiguous rings of about 1-inch diameter. The cross is deeply cut, to about a half-inch depth, with equal arms 4 inches long and 1 inch broad. The left arm of the cross extends beyond the circle, but this may be due to the circle being slightly excentric in relation to the cross. The lower right quadrant of the circle is marred by a natural crevice in the rock, but careful examination shows that the circle does not cut the right arm of the cross.
b) On each side of this figure is a roughly circular marking, one about 4 inches above and to the left, of 3-inch diameter, and the other 2 inches to the right, of about 5-inch diameter. In each there is an indefinite depression across the centre.
“Group 2 — a) About a foot below and to the right of Group 1 there is a boldly cut cross within a 7-inch circle. Again the vertical arm of the cross is extended above and below the circle, downwards for 5 inches to a curved arrow-head with 4-inch barbs, and upwards as an equal armed 5-inch crosslet above which is a 4-inch circle with the central axis continued through it. (The junction of this axis through the circle with the top of the small cross is slightly angled.) The main cross and circle are cut to fully half an inch in depth and one inch in breadth, but the upper part of the figure is much less distinct.
b) About 8 inches to the left of the upper part of the above figure is a very faintly incised cross within a 2½-inch circle. It is difficult to discern on the rock, but can be seen in the photograph and is very clear on the rubbing. It also appears to have an arrow-head above it.
“Group 3 — a) A foot below and to the right of Group 2 is a clearly cut cross within a 6½-inch circle. A natural cleft in the rock has been used for one axis of the cross, which lies obliquely to the others already described, and this axis terminates in an arrow-head 3 inches below the circle, and another slightly smaller arrow-head is cut 2 inches above the circle; in each case the angle formed by the arrow being towards the circle.
b) Immediately below the last cross is a curious hieroglyph not easy to make out on the rubbing, but clear in the photograph. On an 18-inch vertical axis can be seen from above downwards an arrow-head, an oblique line to the left, a faint 2-inch circle, a transverse stroke, and finally two oblique lines to the right. A natural crevice to the left of the figure rather confuses the picture.”
Ron Morris’ (1981) description wasn’t as detailed and he was initially hesitant about using the site in his rock art survey of the area, as he thought it “most likely to be early christian” in nature and period. He changed his view after talking with an associate at Bergen University, who pointed out that the symbols found here up Glen Lochay were “exactly the same as Norway’s second commonest symbol, the ‘Cross-ring’, which is contemporary with their cup-and-ring series.” Morris described the carvings here as:
“3 ‘cross-rings’ and 7 other rings, some of which have traces of crosses within them. There are also grooves, some extending from a ‘cross’-line to form an ‘arrowhead’, and one group, with ring above, rather resembles a ‘man.’ Largest ring diameter, 20cm (8in) and greatest carving depth, 1cm (½in).”
Examples of the artistic symbolism found at this ‘Duncroisk Crosses Stone’ are scattered throughout western Europe from the Bronze Age period onwards: notably at Dowth and Clonfinloch in Ireland (Brennan 1983; Coffey 1912); Jonathan’s Cave, Fife (Simpson 1867); Valcamonica, Italy (Anati 1961); and all over Norway and Sweden (Coles 2005; Gelling & Davidson 1969; Janson 1966). In more recent times we find these curious symbols etched inside the prehistoric chamber of Ty Illtud (Grinsell 1981) — but these are thought to be later additions. However, the universal nature given to such interconnecting symbols such as those found here is, simply, ritual magick. We find it across the Himalayas, Africa, north and south America – just about everywhere. It would be quite wrong to believe that the presence of an encircled ‘cross’ on this stone relates it to a christian belief system, as such a motif is found in many non- and pre-christian societies with a mythic nature akin to that of the swastika, i.e., of a world unfolding or emerging from a centre-point and the arms of the ‘cross’ outwards defining the directions and boundaries of any specified cosmology: be it landscape, heavens, spirit worlds, pregnant belly, etc.
Solar cross? Eye? Vulva?…or dancing human figure?
As Cormack (1952) described, the respective groups of carvings are integrally linked by an interconnecting line that joins the symbols in the respective groups to the other symbols. The fact that the connecting ‘lines’ are natural is meaningful in the relationship between humans and Nature; but moreover, the connecting line linking the symbols strongly implies sequential reasoning and magickal import. Indeed, these three distinct clusters (see Cormack’s rubbing) are functionally akin to magickal sigils, examples of which are found across the ancient and modern world. This is a notion that must be given serious consideration as a function in the carved stone of ‘Duncroisk 4’. Equally we can see in one section of the carving what may be a dancing human figurine, very much like rock carvings found elsewhere in Europe and beyond.
Both Erich Neumann (1973) and Alex Marshack (1972), for slightly different reasons, would also see the images carved here as early expressions of human development: either through i) the emergence of archetypal patterns and the interpretative interplay of the ego, or ii) the intellectual evolution of magickal appliance, whereby imagery and human action are recognized as meaningful in a wider natural sense. In the case of Duncroisk 4 it would more likely possess magickal import, as symbols were much more than ‘art’ and possessed meaning on several interconnecting levels, one of which being ritual function — an element that modern archaeology is slowly learning to incorporate into its analyses.
Dancing Siberian ShamanDancing shaman figure?
A more in-depth comparative essay is really needed to give a clearer exposition defining the nature of this carving… My personal view is that the carving represents, not some solar design, but one of Britain’s earliest artistic examples of human beings, in this case dancing and beating a drum or bodhran. It may indeed be the earliest pictorial example of a bodhran in the country. I’d say so. There is also the distinct possibility that the dancing figure is a shaman. We have many petroglyphs from all over the world that highlight such a character, integral to all early cultures—and this is as likely a contender as any for such a figure. (see Gough 1999; Whitley 2000, etc) It may however, be a warrior with a shield. You see the problems we can have with these damn carvings! 🙂
Folklore
This carved rock is said by local people to have been where a ‘Celtic’ saint delivered sermons to the heathen populace. The saint concerned is likely to be the one who tradition tells gave his name to the small glen immediately across the track from here: St. Charmaig. Halfway up the small glen is a small cave, barely accessible, with untouched remains of dried roots and other elements of human habitation therein. A few hundred yards to the north in old Finn’s Glen, is the forgotten Waterfall of the Oracle which sometimes isn’t even there!
References:
Anati, Emmanuel, Camonica Valley, Alfred Knopf: New York 1961.
Brennan, Martin, The Stars and the Stones: Ancient Art and Astronomy in Ireland, Thames & Hudson: London 1983.
Coffey, George, New Grange and other Incised Tumuli in Ireland, Dolphin: Poole 1977.
Coles, John, Shadows of a Northern Past: Rock Carvings of Bohuslan and Ostfold, Oxbow: Oxford 2005.
Grinsell, Leslie V., “The Later History of Ty Illtud,” in Archaeologia Cambrensis, 131, 1981.
Janson, Sverker & Westman, David, Rock-Carvings at Fiskeby, Esselte AB: Stockholm 1966.
Kuhn, Herbert, The Rock Pictures of Europe, Sidgwick & Jackson: London 1956.
Marshack, Alexander, The Roots of Civilization: The Cognitive Beginnings of Man’s First Art, Symbol and Notation, Weidenfeld & Nicolson: London 1972.
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR 86: Oxford 1981.Neumann, Erich, The Origins and History of Consciousness, Bollingen Princeton University Press: New York 1973.
Royal Commission on the Ancient & Historical Monuments of Scotland, Archaeological Sites and Monuments of Stirling District, Central Region, Society of Antiquaries of Scotland 1979.
Simpson, James, Archaic Sculpturings of Cups, Circles, etc., Upon Stones and Rocks in Scotland, England and other Countries, Edmonston & Douglas: Edinburgh 1867.
Whitley, D.S., The Art of the Shaman: Rock Art of California, University of Utah Press 2000.
Follow the same directions to reach the superb Badger Stone carving, and from here take the footpath that runs downhill. You’ll cross another footpath about 100 yards down the moor, but just keep walking down the path and you’ll notice the small copse of woods ahead of you. As the footpath begins to swerve roughly away, northeast, heading away from the said woodland, keep your eyes peeled on your left for a reasonably large but flattish rock close to the ground (in summer it’s surrounded by bracken) about 75 yards away. That’s your target!
Archaeology & History
Of the hundreds of cup-and-ring stones on Ilkley Moor and district, this is one of my personal favourites! I first visited the stone in 1977 as a young teenager and was mightily impressed by the unusual nature of the design here — and that impression still remains. Aswell as possessing the usual cups and rings, the Barmishaw Stone is one of just a few rocks also possessing a sort of ‘ladder’ design or linear pattern within the overall carving: an insignia echoed on the nearby Willie Hall Wood carving, the Piper Stone, and also on the Panorama Stones. As with the ‘ladders’ on the Panorama carving, those found here at Barmishaw are very eroded and are increasingly difficult to see during the daytime (the best time to notice them is usually around sunrise or sunset, and particularly when the rock itself is wet).
The carving has been described many times, albeit briefly, by a number of writers. In John Hedges (1986) fine survey he said the following:
“Medium sized flat-topped rock…fairly smooth grit, sloping slightly east to west, covered with carvings, some of which are very worn. Slanting sunshine needed to detect them. About twenty-four cups, at least nine with rings or incomplete rings, two with multiple grooves half round and continuing straight down, one of them incorporating ‘ladder.’ Five other ‘ladders’ – in a good light. Cups mostly deep and clear.” A few years later, Boughey & Vickerman (2003) echoed much of Mr Hedges description, though noted that of the 24 cups with their rings, one possessed a triple ring.
Alan Davies’ illustration
Like so many cup-and-ring stones, they have given rise to hosts of fascinating theories and ideas — one of which is based on mathematics and metrology. In the 1980s, Alan Davies (1983, 1988) surveyed the Barmishaw Stone — and other carvings on Ilkley Moor — to explore the possibility that the cups and rings were laid out according to a basic unit of measure, the Megalithic Inch (MI), as proposed by Alexander Thom some years earlier. Although Davies’ work showed that such a primary unit of measure wasn’t to be found universally, his research at the Barmishaw Stone indicated “significant evidence for quanta of…3 MI,” although this occurred “when the analysis is restricted to only ringed cups.” Despite this, Davies thought that the existence of the Megalithic Inch was evident in this and other carvings on the moors, stating that:
“The repeated emergence of the significance of ringed cups, and the fact that all putative quanta seem to bear a simple numeric relation to each other do not seem to be coincidental.”
Although it has to be said that the selectivity of data in Davies’ research is more indicative that the Megalithic Inches in the the carvings was due, neither to chance nor mathematics, but more that the implements used to carve the rocks and the size of the hands of the people doing the carvings was pretty uniform and so, as a result, would give an obvious window of numeric similarities that can easily be mistaken as a deliberate metrology. These simplistic factors need assessing. In modern trials that we’ve done carving cup-markings, we’ve found them to be of similar size to those carved in prehistoric times—as you’d expect.
Barmishaw Stone (after Hedges, 1986)Barmishaw stone (Cowling 1946)
The ladder motif central to this carving may have related to early religious and ritual events here. Across the world, indigenous cultures commonly relate the ‘ladder’ to be a symbol of ascension, both by shamans, mystics and during rites of passage. The symbol represents the journey of the soul to and from supernatural realms. To discount this possibility at the Barmishaw Stone would be shortsighted.
The carving was very probably painted when our neolithic ancestors gathered here, much as Australian aborigines still do to their carvings using lichens and other plant dyes, with the respective ladders and lines changing colour where movements between worlds or shifts of attendant spirit occurred. By virtue of the its very name, I consider this rock to have been considerably important; the “ghost” aspect to barmishaw being a typically misconstrued aspect of ‘spirit’.
Folklore
This excellent cup-and-ring marked stone probably derives its name from the old dialect words “barm i’ t’ shaw”, meaning “ghost in the wood” stone. Whatever guise the attendant spirit of this rock may have had has long since been forgotten; though spectral accounts from the beginning of the nineteenth century until modern times may give us clues. There have been several reports of green-coloured elemental creatures around the area between here and the White Wells sacred spring a short distance to the east. The most recent account, from 1987, took on the modern mythic form of a little green man from space, with attendant UFO to boot! The Barmishaw Hole nearby was a place where faerie-folk used to live. Excesses of geological faulting and water makes the magickal nature of this place particularly potent.
References:
Allen, J. Romilly, “The Prehistoric Rock Sculptures of Ilkley,” in Journal of the British Archaeological Association, volume 35, 1879.
Allen, J. Romilly, “Notice of Sculptured Rocks near Ilkley,” in Journal of the British Archaeological Association, volume 38, 1882.
Bennett, Paul, “Cup-and-Ring Art”, in Towards 2012, volume 4, pp.83-92, 1998.
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milverton 2001.
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Cowling, E.T., ‘A Classification of West Yorkshire Cup and Ring Stones,’ in Yorkshire Archaeological Journal 1940.
Cowling, E.T., Rombald’s Way: A Prehistory of Mid-Wharfedale, William Walker: Otley 1946.
Davis, Alan, ‘The Metrology of Cup & Ring Carvings near Ilkley in Yorkshire,’ Science Journal 25, 1983.
Davies, Alan, ‘The Metrology of Cup and Ring Carvings,’ in Ruggles, C., Records in Stone, Cambridge University Press 1988.
Eliade, Mircea, Patterns in Comparative Religion, Sheed & Ward: London 1958.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Wright, Joseph, The English Dialect Dictionary – volume 1, Henry Frowde: Oxford 1905.
Corrycharmaig 3 stone, with Meall Dhuin Croisg rising…
Go thru Killin and, just past the Bridge of Lochay hotel, take the tiny road on your left. Go down here for 3 miles till you pass the gorgeous Stag Cottage (with its superb cup-and-rings in the field across the road) for another 300 yards, until you see Duncroisk Farmhouse set back on your right. On the other side of the road, go thru the giant deer-gates (close ’em behind you) to the river-bridge and across it. Walk along the track till you reach the turning to Corrycharmaig House on the right (over the stream), but here, go up into the field thru the gate. Walk up the hill ahead of you with its trees on the left, walking up onto the grassy level, then up again to the rounded knoll another 100 yards up. You’re here!
Archaeology & History
This is the most visually impressive of the set of four cup-marked rocks along this ridge — although if you visit here when the light is poor, or the sky’s overcast, you’ll be lucky if you can actually see much of the material. For example, I counted 38 cups on this particular stone on a day when the sky was bright, but upon checking later, found that Mr Morris (1981) described there being, “40 widely scattered cups of which, however, 29 well-defined cups are in a compact group of which 6 are in line.” Whereas more recently the Canmore website told there to be,
Corrycharmaig-3 carvingClose-up of line of cups
“At least 48 cupmarks are visible on the most westerly exposure. The cupmarks range in size from 25mm in diameter and 5mm in depth to 100mm in diameter and 40mm in depth. A straight line of six cupmarks arranged close together is orientated running from NW to SE.”
This line of six cups is very distinct and stands out as the most notable aspect on this carving, probably because it gives a sense of ‘order’ or linearity, whereas the rest of the carving (as with oh so many of them, thankfully) possess that non-linear feature of scattered cups and lines, dissolving reason and ego, and eliciting the natural meditative state, if one so cares to allow. On our most recent visit here, our eyes and fingers traced what appeared to be the faint remains of a carved line running along the bottom edge of the row of cups and then bending around the bottom cup in the same line — a little bit like the carved lines which run around the edges of the row of cups on Ilkley Moor’s Idol Stone. You can just make this ‘line’ out in the photo, below.
Cup-mark and flintClusters of cups and faint line
On one visit to the site when we’d stayed with the late great Lindsay Campbell of Stag Cottage, other sections of this carving were visible that we’d previously missed, highlighting at least 45 cup-marks that we counted. Several of the cups had been exposed by animals (sheep or deer – we couldn’t tell) cutting into the soaking wet earth and in carefully checking a couple of cups whose edges were exposed, found a small worked flint within one of the cups! I looked at it, held it, puzzled over it, then laid it back where we’d found it. You can see it in the photo here, on the right.
This carving obviously grows on you with time. And like its carved companions of Corrycharmaig (1), (2) and (4) both left and right of here, the stone rests within a natural theatre of dreams, eliciting — if only in a slight way — the non-focal perspective necessary to receive the carvings as its executor knew…
Morris, Ronald W.B., The Prehistoric Rock Art of Southern Scotland, BAR 86: 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.
