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.
From Masham, head westwards along the country lanes to Fearby village (passing the old cross on the green), through old Healey village (where once stood four stone circles, seemingly destroyed) and onwards to Gollinglith. From here, keep going up the winding steep lane until you’re at the top where, on the right-hand side of the road, a footpath takes you diagonally northwest over the uphill fields. When you hit the walling which leads to the woods, follow it up and, once at the corner of the trees, follow the track back eastwards along the wall edge, keeping your eyes peeled when you pass the second line of walling that runs down the slope. You’re damn close!
Archaeology & History
One of a cluster of fascinating carvings in this remote region of the upland Dales, this is perhaps the most impressive multiple-ringed carving of the group, known collectively as the West Agra Plantation group. The carving was rediscovered sometime in 2002 by Emily McIntosh and was described by Brown & Brown (2008) thus:
“This boulder measures 5.5 x 3.1 x 1.28m and has a multiringed motif 50cm in diameter linked by a number of grooves and isolated cups.”
Teddy with his rings! (after ‘QDanT’)Primary cup-and-multiple-rings (after ‘QDanT’)
But this barely does the stone justice. The main focus is on the cup with six surrounding rings, intersected by an intrusive double-line from outside the series of rings then running into the central ring itself — though not touching the focal cup at the very centre. This double line points to the southeast and is somewhat akin to a sliver of light running to or from old solar designs. It is a little bit like some aspects of the carved stones found on Ilkley’s Panorama Stones (though Ilkley’s carvings are much fainter). At the end of the intrusive double-line is a small cluster of cup-marks. There’s also another curious singular carved line running outwards from the third ring, running out of the concentric rings then heading off further down the stone. More cups and lines scatter other parts of the stone and there may be another faint line running from near the central cup all the way out of the rings close to the main ‘ray’ of lines.
Photo by Geoff Watson
A large standing stone can be seen if you walk a few hundred yards east along the side of the wall. It’s quite impressive.
Apparently the woodland in which this carving (and its associates) can be found is supposedly ‘private’ and one is supposed to contact some group calling itself Swinton Estates to set foot in the woods. Not the sort of practice we usually put up with in Yorkshire. If anyone has their contact details, please add them below in the event that anyone has need to ask ’em about going for a walk here.
References:
Brown, Paul & Barbara, Prehistoric Rock Art in the Northern Dales, Tempus: Stroud 2008.
Cup-and-Ring Stone: OS Grid Reference – NY 0708 2536
Getting Here
Photo & drawing of Dean’s cup-and-ring (after Beckensall 1992)
St Oswald’s church stands at the western edge of the village of Dean beside the road to Branthwaite. The village is located some 5 miles due south-west of Cockermouth and about 6 miles to the south-east of Workington.
Archaeology & History
In the nave of St Oswald’s church there is now housed a small sandstone boulder that has a well-defined central cup-mark around which are two large concentric rings, a third ring being left open – perhaps indicating a portal (gateway), and three other well defined cup-marks at the side of that, one of which has become almost adjoined to the other through erosion.
The boulder was ploughed up in a field at nearby Park Hill to the south-west of the village in 1918. It was then placed in the churchyard but, in recent times it was brought into the church for safety reasons.
References:
Beckensall, Stan, Cumbrian Prehistoric Rock Art, Abbey Press: Hexham 1992.
Beckensall, Stan, British Prehistoric Rock Art,Tempus: Stroud 1999.
Beckensall, Stan, Prehistoric Rock Art in Cumbria, Tempus: Stroud 2002.
Two real ways to get here. Either (i) follow the directions to get to the Stag Cottage carvings of Duncroisk 1, then walk down to the fence by the riverside and walk along to the left for a coupla hundred yards till you reach a second metal fence-post sticking out of a rock on the other side of the deer-fencing; or (ii) from the roadside burn a coupla hundred yards along the road before you reach Stag Cottage, follow it down to the riverside, then head along the footpath behind the fencing, parallel with the river’s edge. It aint far. Within 100 yards you’ll reach the stone with the metal pole sticking out of it and the carvings are on this!
Archaeology & History
Confusingly redesignated as Duncroisk 5 carving by the usually efficient Canmore people, we’re sticking with this stone’s original name given by Ronald Morris (1981) in his British Archaeological Report of this and nearby carvings — and a quite fascinating carving this is as well!
C.G. Cash’s drawingDuncroisk 3 stone
As with many cup-and-rings, erosion and lighting has a powerful effect on seeing the design correctly. On my visit here in recent months there were quite distinct additional elements in the carving which haven’t been noted by previous archaeologists. But in saying that, there were also some elements that were reported by the earliest antiquarians that proved difficult to see in the grey light of day when I was here. The earliest report of the carving by C.G. Cash (1912) told there to be five rings, whereas today only 3 or 4 are visible (though this will probably change when viewed in other lighting conditions).
When Mr Cash told of this stone in his essay on the antiquities of Killin it sounded as if it was lucky to have survived, as it had previously been dug out and left by the roadside, before then being reused by a local to fix a fence-post in! Mr Cash told us that the local,
“had used it as the foundation stone of the stretching post at the south end of the easternmost fence on the farm, and there I found it, near the brink of the river, buried in sand and turf. I cleared it and then in pouring rain crouched over it to make a hasty sketch. It bears eighteen cups, of which five are surrounded by rings. The largest cups are 2½ inches and the rings 6 inches in diameter.”
Ron Morris’ images
When I visited the place the weather was much the same as Mr Cash described: lovely teeming rain, typical of the mountains, with the surrounding trees breathing moisture onto the slopes as ever.
Years later when Ronald Morris (1981) came here he saw “4 cups-and-one-ring…probably complete rings, up to 12cm (5 in) in diameters and 10 cups up to 2cm deep.”
If you stand and face the stone, the cup-marking on its lower right side (see Morris’ old photo, above) has a pecked line running from it further to the right and down to the edge of the rock. You can clearly make it out on the top photo. This carved line also seemed to touch another carved line which can be seen running along the outer edge of the stone — although the poor light didn’t allow me to view this with absolute confidence. I’ll have another look at it again when I’m up in the area in May and hopefully confirm or deny it with greater confidence (and if anyone else gets here in the meantime, have a look and see what y’ think).
From Hebden Bridge, take the Heptonstall road and go past the legendary Slack Bottom (no lies!), until a few hundred yards further on at Slack Top, take the Widdop road on the right. Amble the long and winding road for a mile – mebbe a bit more – until the valley on your right runs out of trees! (on the OS-map this is called Hebden Dale, but it’s generally known as Hardcastle Crags [after the name of the rock outcrop halfway up]). Just about here there’s a track to your left, by the rather desolate bus-stop! If you hit the wibbly hair-pin bend by the Blake Dean scout-hut, you’ve gone too far. Walk along the track for a coupla hundred yards and take the first opportunity you have to cross the deep dike on your immediate left. Then just walk along the edge of the stream itself until you reach the large rocks another few hundred yards along.
Archaeology & History
As Richard Stroud’s photo above shows, this is a beautiful spot — when the weather is good anyway! Much of the landscape around you is scattered with occult history and folklore: boggarts, witches, corpse routes, spirit animals, old stone crosses, standing stones and more! A damn good day out can be had in this area by any enthusiastic antiquarian or enquiring heathen.
Cups and faint rings
The carving we have here is an almost typical cup-and-ring stone, but it’s pretty isolated with no other ringed companions anywhere on these hills. It was first described in David Shepherd’s (2003) survey of prehistoric remains of the region — although I was initially a little cautious about the veracity of David’s findings, as some cup-marked stones in his survey are probably natural and some “standing stones” he cites nearby are simply natural earthfast rocks. But this particular carving seems man-made with large faint rings encircling at least one of the cup-marks, as you can see in Richard Stroud’s photo here. In Mr Shepherd’s survey, he said of this site:
“A prominent double boulder. On the top surface are two eroded cup marks by the south edge and one by the north edge. Two eroded cup marks with rings are on the northwest segment.”
References:
Shepherd, David, “Prehistoric Activity in the Central South Pennines,” in Transactions of the Halifax Antiquarian Society, new series, volume 11, 2003.
Acknowledgements: With thanks to Richard Stroud for use of his photos in this site profile.
From the north side of Killin, take the minor road next to the Bridge of Lochay Hotel at Killin, past the hydroelectric station, through the wooded section until the fields open out again. The first gorgeous old house you come to is on the right-hand side of the road. Stop here! (I could really do with living here misself – tis a truly superb place!) You can ask the lady at the house where the carvings are and she’s very happy to point them out – they’re on the rocky crag near the bottom-end of the field on the other side of the road.
Archaeology & History
R.W.B. Morris sketch of the main carvings
What a brilliant setting and clump of carvings we have here! As you get to the rocky hillock in the field, you see that there are numerous rocks visible along the ridge, a number of which have carvings on them – some with just cups, but most possess a number of cup-and-rings. It’s an excellent spot! Depending on the time of year when you come here will determine whether or not you get a better look at the carvings or not. I’d recommended April and May as the best time, as the vegetation is at its lowest then. Visiting the site near the end of summer doesn’t give you as good a view — but even then, if you like your rock art, you’ll still love it! The rocks here are mainly quartzite schist, with a number of the surfaces being almost pure quartz. Intriguingly, none of the pure quartz sections appear to have been carved on.
The carvings here were first mentioned in an article by D. Haggart (1895), who described them as “a very remarkable set of incised rock sculptures…discovered lately in this neighbourhood by Mr John McNaughton.” And remarkable they are indeed! In Ronald Morris’ (1981) survey of this site — which he labelled Duncroisk 1 — he counted eight separate rock surfaces that had been carved, marking them as carvings a-h, but there are at least eleven of them here; and in all honesty, if we could strip the surface of the hill of its vegetation, we’d probably find a few more hidden away!
Cup-marked stone
As you’ve walked across the field from the road, past the first unrecorded cup-marked stone near the start of the rocky rise, we reach Mr Morris’s ‘stone A’ near the easternmost end of the ridge, which is just a small slab of stone with “at least 6 cup-marks” on its surface. It’s easily missed in poor light, so watch out. However, if you reach ‘stone b’ (described below), just walk back ten steps and you’ll see it.
Carved Stone B
Ten yards west is ‘Stone B’, seemingly split into two sections, whereupon we find “a cup-and-two-rings and at least 12 cups-and-one-ring, up to 19cm in diameter – some rings gapped, others not, some with and some without a radial groove from the cup, and some with a “runner” or cup in a ring. There are also at least 58 cups” on this section of rock. ‘Stone C’ can also be missed, this time due to its size and the fact that the larger cup-marked surfaces are ahead of you. But assuming you don’t miss it, this carving consists of “a well-preserved cup-and-two-complete-rings 25cm in diameter, and a cup.”
Carved Stone D
‘Stone D’ is just next to ‘stone C’, but with rather more ornate designs etched upon it. This is one of the more archetypal petroglyph designs that are found in the photo-guides and textbooks. Morris (1981) told that it consisted “of a cup-and-two-complete-rings and 2 cups-and-one-complete-ring up to 20cm in diameter, also a cup-and-one-complete-ring and 2 cups.” The photo here shows it pretty clearly.
Carved Stone ECurious ‘bowl’, top-centre
‘Stone E’ is the next one along, just a foot or two away and Mr Morris (1981) told that the carving consists of “2 cups-and-one-ring up to 13cm in diameters, 1 complete, the others gapped, joined by groove to a cup, and at least 33 cups (C.G. Cash counted 42 in 1911).” Most of the carved elements on this rock are around the edges of the stone. A very large faded circular depression, man-made, is also visible on this section of the petroglyph (above left), suggestive of lunar symbolism.
Carved Stone F
‘Stone F’ is less than 10 yards further west and has the greatest number of cup-markings of the entire group here, as Morris described: “3 cups-and-one-complete-ring up to 9cm in diameter, and at least 80 cups, a few of which are widely scattered over a big area sloping steeply further south, beyond the attached diagram.” It’s perhaps the most notable of the carved rocks along the ridge here — not by virtue of its design, more its geological physique than anything else.
Carved stone G
‘Stone G’ is next along and has a curious look about it, suggestive of more modern times. At first sight it doesn’t seem to have quite the magnitude that Morris’ description affords it, but on closer inspection by rolling some of the covering turf back away from the rock, you can see what he meant. This stone has “10 cups-and-one-complete-ring, up to 10cm diameter…and also 15 cups.” One of the cup-and-rings on this section was found by Morris to have been “the smallest so far recorded by the author in Scotland.”
Then we reach ‘stone H’ at the eastern end of the carved ridge, consisting of simply 3 cup-markings. One of them has a faint arc pecked around it. Further along the rock, a complete cup-and-ring is visible close to the edge.
This entire line of petroglyphs is a fine place in a fine setting, perfect for meditative practices! Other carvings can be found close by: Duncroisk 3 is a coupla hundred yards east across the field just over the fence by the riverside; and Duncroisk 2 is on the other side of the fence down towards the River Lochay on the same side of the adjacent burn less than 100 yards away (though this is trickier to reach). Other prehistoric sites can be found not too far away…
Folklore
Local people tell of having seen curious lights flitting along the edges of the field, river Lochay and roadside close to the carved rocks hereby.
Go northwest along the country lane running between High Utley (on the outskirts of Keighley) and Steeton known as Hollins Lane, which then becomes Hollins Bank Lane. You’ll see the fine castle building as you go along, known simply as The Tower arising from the top of the tree-line. As you get to the driveway leading down to the Tower, a less impressive farm building is on the other side of the road, known as Hollins Bank Farm. On the right-hand side of this house is an old overgrown road. Walk along here to the end, going into the field immediately left where a small group of stones can be seen halfway up the field by the tree. You’re here!
Archaeology & History
First discovered one sunny afternoon on April 7, 2010, in the company of Buddhist scholar Steve Hart, this is a really curious carving, inasmuch as it seems to have been deliberately carved around what may be curious naturally eroded cup-forms. You’ll have to visit it to see what I mean. They’re a bit odd. Almost too perfect as cups to be the ancient eroded ones we’re used to looking at. But this aside….
…and againDragon Stone, looking NW
It’s a lovely flat stone, with curvaceous lines running across the middle and edges and into cup-markings. Although some of the cups give an impression of being natural, others have the authentic-looking ring to them, with at least one of them possessing a near-complete ring encircling it (as you can faintly see in the close-up photo here). There are at least 19 cup-markings on this stone, and four main ‘lines’ running roughly in north-south directions, with the cups interspersed between them. At the top (north) end of the rock, separated by a crack, the lines stop and we just have some cup-markings. The crack in the stone may have been functional here.
Although graphically different, the carving has a similar feel in design (for me at least) to that of the Wondjina Stone at Rivock Edge, on the other side of the Aire Valley a couple of miles east of here — though this newly found carving is in a better state of preservation. The small scatter of rocks around it seem to have been unearthed or moved recently by the land-owner (who aint keen on you looking on his land, so be careful) and the good state of preservation may be that they were only unearthed sometime this century. We must also keep in consideration that the lines that run across the surface of this stone are water-lines and may be more the result of Nature’s hand than humans. It’s obvious that some human intervention has occurred here, but it may be difficult to ascertain the precise degree of affectation between the two agencies.
Close-up of cups & lines
According to the archaeological record-books there are no carvings here, but another simple cup-marked stone accompanies this more extravagant serpentine design just a few yards away; a simple cup-marked stone may be seen at the top of the hill; and the faint Currer Woods carving can be found 0.68 miles (1.09km) due west of here, on the other side of the small valley. Other outcrop stones scatter the fields and slopes here, some of which still need checking to see whether or not further carvings exist.
…And for those who may bemoan my seemingly romantic title of the carving: remember! — close by in Steeton township, between the years 1562 and 1797, there was an old field-name known well to local folk, of “one parcel of arable land in town field called Drakesyke, 3 acres”, i.e., the dragon’s stream or dyke. (Gelling 1988; Smith 1956)
References:
Clough, John, History of Steeton, S. Billows: Keighley 1886.
Gelling, Margaret, Signposts to the Past, Phillimore: Chichester 1988.
Smith, A.H., English Place-Names Elements – 2 volumes, Cambridge University Press 1956.
