Follow the same directions to get to the Tormain (1) carving, but take a few steps backwards from it and it’s on a small flat earthfast stone to your right (west). You’ll see it.
Archaeology & History
Tormain bullaun stone
Just a stride or so away (north) from the dubious Tormain (2) cup-marking we find a much more likely prehistoric contender in front of us. It’s notably different from the others on the hill in that it possesses a very large wide and deep ‘cup mark’ which, if it was found in Ireland, would undoubtedly be classed as a bullaun stone. That was the first thing I exclaimed to myself when I clapped eyes on it! A bullaun can be a man-made or natural hollow or basin cut into outcropping rock, boulders or small portable stones and used for various pragmatic and ritual purposes – many with traditions and folklore attached. Sadly, no such folklore is remembered here.
There are four other smaller standard sized cup-marks, at various distances from the primary bullaun, one of which may be Nature’s handiwork. They were illustrated by the great Romilly Allen (1882) when he first wrote about the carving. One of the cups may have a faint carved line running from it, but this would require the attention of the computer imagery dudes to confirm or deny this. It wasn’t seen by Allen, who simply said of it:
“The carvings on it consist of a bowl-shaped depression, 6 inches in diameter and 2 inches deep, and four cups near it varying in diameter from 1 to 1½ inches.”
Tormain 3 carvingTormain 3 (with 1, 2 & 7 marked)
The fact that bullauns possess a number of practical uses implies the large ‘bowl’ may have been used in a pragmatic sense for something, with the proximity of the impressive Tormain (1) carving just yards away almost appealing for ceremonial association of one form or another. We find similar bullaun/petroglyph associations at a number of other recognized rock art sites: the Mixing Stone in North Yorkshire being just one example. Large bowl-shaped hollows have been used in some cultures like mortar and pestles to macerate herbs, used in medicines and paints, both of which may have been applicable here.
Best approached from Ratho village, head up Main Street towards Bonnington Mains. Shortly after the last road in the village (Halicroft Park, on the right) a small line of trees appears on the left and about 250 yards on a footpath takes you therein. Follow this for 250 yards (it runs parallel to the road) and the path then slopes uphill alongside the field. Go all the way to the top (roughly 500 yards) where the small copse of trees crowns the summit. On the ground there are a number of both small and medium-sized flat earthfast stones. You need to walk to the one at the end, just where the hill begins to slope back down. You’ll find it!
Archaeology & History
Tormain Hill, or the hill of stones (Harris 1996), has an interesting cluster of petroglyphs on its top, with this one in particular being the most impressive. It’s the southernmost stone in what’s been designated as a cluster of eight carvings—although we need to be slightly sceptical of one or two of them. Not this one though!
Regarded by Ron Morris (1981) as being “one of the best cup-and-ring designs in Scotland”, it was first mentioned by John Smith (1874) who visited the site with the local farmer James Melvin, who’d discovered the carving some years earlier. Initially he only noticed cup-markings, but when he visited the place with the pioneering rock art researcher Sir James Simpson, upon “removing the shallow soil or turf from the rock on the summit of Tormain Hill” this impressive multiple-ringed design came to light: “one cup (and) four concentric circles .”
A few years later another rock art pioneer, J. Romilly Allen (1882) visited Tormain and found quite a bit more upon this hill. This particular carving, he told,
Allen’s 1882 sketchTormain ‘A’ site (Allen 1882)
“is much the finest and most remarkable in every way. It is the most southerly of the whole group, and is a piece of natural rock projecting from the side of the hill about 9 inches above the turf, and measures 4 feet 3 inches long by 2 feet 3 inches wide. Its upper surface is flat, of oval shape, and slopes slightly towards the hill. It is intersected by two parallel cracks of natural formation. The sculptures consist of twenty cups varying in diameter from three quarters of an inch to 2 inches in diameter. Seven of the cups are surrounded by a single ring, and one by four concentric circles. These latter are not complete, but form loops round terminal cups. Three of the cups with single rings are arranged in the form of a triangle. In addition to the cups and rings are two long grooves, one cutting off the corner of the stone, and the other parallel to one of the natural cracks.”
Beckensall’s 1986 version
More then forty years later the Royal Commission (1929) dudes visited the Tormain stones. It had become so overgrown by then that only two of the eight carved stones were visible: “but a search beneath the turf revealed the other sculpturings,” they told. It would seem that they chose a bit of a grey day when they came here as they told how the carving appeared “so much worn that the concentric rings are, in particular, difficult to follow.” So they did a rubbing of the stone—a common practice of rock art students over the last century or two. In doing so they were able to discern the following:
“The boulder is fractured in two places by natural agencies, but it shows traces of twenty cup-marks, varying from little more than half-an-inch to fully two inches in diameter, and there are two separate gutters. Seven at least of the cups are surrounded by single rings, and in two instances the rings are connected by shallow gutters to simple cup-marks. The largest cup-mark on the stone is encircled by one complete ring with three additional concentric arcs linking up four of the other rings. Another group consists of three cups, each surrounded by a ring, which are closely set in the form of a triangle, with three other smaller cup-marks in close proximity.”
Impressive stuff! In more recent times the site has gained the attention of fellow rock art explorers like Kaledon Naddair, Stan Beckensall and others—but we’re still none the wiser what it means!
Its position in the landscape was probably an important element. Pinus sylvestris (the ley-hunter’s favourite tree) grows spaciously, as it is wont, atop of the hill and, in bygone centuries, would have been much more prevalent before farming enveloped the land hereabouts. It was likely clear of trees on top of Tormain when the stone was carved, giving uninterrupted 360° views of the hills, high and low, as far as the eye can see. The legendary prehistoric Cairnpapple Hill stood out due west from the carving and other notable hilltops in the Pentlands would have had mythic relevance. Sadly, all oral tradition has long long faded and so whatever narratives that were told here have long ago been lost. It strikes me as a tribal gathering place: a moot hill perhaps. The bullaun stone adjacent to this fine carving would be a receptacle for paints, herbs, elixirs to be macerated and used by the people….
Check it out. Have a feel of the place. But spend a few hours here and listen to the wind…
Beckensall, Stan, Rock Carvings of Northern Britain, Shire: Princess Risborough 1986.
Beckensall, Stan, British Prehistoric Rock Art, Tempus: Stroud 1999.
Feachem, Richard, Guide to Prehistoric Scotland, Batsford 1977.
Hadingham Evan, Ancient Carvings in Britain: A Mystery, Garnstone: London 1974.
Harris, Stuart, The Place-Names of Edinburgh: Their Origins and History, Gordon Wright: Edinburgh 1996.
MacLean, Adam, The Standing Stones of the Lothians, Megalithic Research Publications: Edinburgh 1977.
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 Ancient & Historical Monuments of Scotland, Inventory of Monuments and Constructions in the Counties of Midlothian and West Lothian, HMSO: Edinburgh 1929.
Found just a few strides away from the most impressive cup-and-ring stone at Tormain, is this quite un-impressive example and can easily be ignored. This simple cup-marked stone, first mentioned in Romilly Allen’s (1882) survey as “Stone B”,
“…lies 10 feet 3 inches to the north of stone A, and measures 4 feet by 2 feet 3 inches. It has a single cup cut on it.”
Tormain 2 “carving”Tormain 2 “carving”
Despite this being included in archaeological surveys as prehistoric, I’m unsure regarding the archaic authenticity of this single cup-mark and wonder whether it was just the result of idle dabblings by one of the quarrymen here in the 19th century. The lack of erosion leads me to suspect this. It has the appearance of cup-marks that have been carved by students at several different places in Britain (South Yorkshire, West Yorkshire, Perthshire, Renfrewshire, etc) over the last forty years. I’m quite happy to be wrong though! When the Royal Commission (1929) survey mentioned “a single cup on one boulder,” this may have been the one they were referring to.
Royal Commission Ancient & Historical Monuments of Scotland, Inventory of Monuments and Constructions in the Counties of Midlothian and West Lothian, HMSO: Edinburgh 1929.
From the Port Appin ferry onto the northern tip of the island, go along the B8045 road for literally 3.5km (2.17 miles) and, shortly after passing Achuaran, a single small white house is on your right. Just yards before here is a small raised rocky knoll. …Or from the Achnacroish ferry, up the road for nearly a mile, then turn right along the B8045 road to Clachan. A half-mile past the hamlet, go past the old School House, then past Mountain View cottage, and the next small white house on the left has a rocky knoll just past it. Just over the wall from the road, a sign points out the legendary Chair that you’re seeking!
Archaeology & History
Site shown on 1875 map
St Moluag, a contemporary of the renowned St Columba, was a 6th century Irish saint who came to reside on Lismore—“the sacred isle of the western Picts”—and here taught the early christian doctrines, fused with indigenous animistic traditions. He used sites of Nature as places of reflection and meditation and this chair-shaped boulder came to be a place renowned as one of his ritual sites, not far from his church. It was described in Frank Knight’s (1933) huge work as possessing healing properties:
“To sit in it used to be considered a sovereign remedy for rheumatism.”
The site was highlighted on the earliest Ordnance Survey map of the island and its lore was remembered by local people of the time. The chair had wider ‘arms’ until the beginning of the 20th century when in widening the road, they were accidentally broken off by one of the workmen.
References:
Knight, G.A. Frank, Archaeological Light on the Early Christianizing of Scotland – volume 1, James Clark: London 1933.
Acknowledgements:Huge thanks for use of the Ordnance Survey map in this site profile, reproduced with the kind permission of the National Library of Scotland.
Take the A826 Crieff Road uphill for 275 yards then turn right up the Urlar Road. It’s a long uphill walk from here, up the private road, through and past Urlar Farm and along the track; making sure you keep to the west-side of the burn – don’t cross over it! Beyond the farm, the fields open up ahead of you into the distant hills. Keep along the track until, after a few hundred yards, on the left by the waters, the first small copse of trees appears. (if you reach the bothy, you’ve gone way to far) Here, walk towards the waters and you’ll see good-sized boulder sticking out of the ground and overlooking the burn below. That’s it.
Archaeology & History
This faded but decent cup-and-ring design, cut into an overhanging rock where you’d sit and dangle your legs, was first described by George Currie (2009) who, in his typically minimalist style told that it “bears 17 cups, 4 of which have single rings.” There may be more to it, but some of the stone is heavily covered in vegetation and on my visit here, the summer heat overwhelmed my ability to gain a complete picture of the surface.
The Urlar Burn (4) carvingFaded design in bright sun
Most of the design is near the western earthfast end of the stone. A long natural scratch in the rock, seemingly enhanced by the hand of man, separates at least three shallow cup-marks on one side (north) from the greater mass of the design on the other —which is where all the cup-and-rings can be seen. One of the rings is incomplete, whilst another has a natural crack running up to its outer edge, which may have been played around with slightly when the carving was first made.
I liked it here – and spent an hour or so under the bright sun before the heat pushed me away, to bathe in the pool below for a while…. Check it out when you’re looking at the other carvings in the neighbourhood
Folklore
Some cup&rings close-up
Although there’s nothing specific about this stone, the burn to the side of the carving was haunted by an old urisk in times gone by: an elemental creature from Scottish fairy lore who inhabited lonely streams and waterfalls. The urisk of Urlar Burn was known as Brunaidh an Easain (his brother, Peallaidh, of greater renown, lived in the gorge of Moness close to Aberfeldy) and this spot may have been one of his abodes. Urisks are associated in some places with cup-marked stones, in which offerings of milk were given to placate them — and this is a good site for any urisk to look over his winding waters….
References:
Currie, George, “Perth and Kinross: Dull: Urlar Burn 1-4,” in Discovery & Excavation Scotland (new series), volume 10, 2009.
Take the A826 Crieff Road uphill for 275 yards then turn right up the Urlar Road. It’s a long uphill walk from here, up the private road, through and past Urlar Farm and along the track (keeping to the west-side of the burn), past the impressive Urlar Burn (8) carving, until you eventually reach the bothy, 3¼ miles (5.2km) up from where you first turned off the A826. Walk 70 yards past the bothy then into the heather on your left where a large couch-shaped boulder stands. The carved rock is a couple of yards on the floor in front of you.
Archaeology & History
An unimpressive faint cup-marked stone consisting of between two and five shallow cups that are difficult to make out unless lighting conditions are good – and even then they’re troublesome! It was first noted by George Currie (2009) how described it simply as: “a rock 2.0 x 1. x 0.2m between Urlar Burn and Hill Park track bears five cup marks.” There are much more impressive carvings in this neck o’ the woods that you’ll want to see ahead of this one!
Folklore
Shallow cups: top-middle; centre-middle
Although there’s nothing specific about this stone, the burn to the side of the carving was haunted by an old urisk in times gone by: an elemental creature from Scottish fairy lore who inhabited lonely streams and waterfalls. The urisk of Urlar Burn was known as Brunaidh an Easain (his brother, Peallaidh, of greater renown, lived in the gorge of Moness close to Aberfeldy) and was likely to have lived further downstream from here. They are associated in some places with cup-marked stones, where offerings of milk were given to placate them.
References:
Currie, George, “Perth and Kinross: Dull: Urlar Burn (3),” in Discovery & Excavation Scotland (new series), volume 10, 2009.
Coming out of Edinburgh along the main A8 Glasgow road, literally yards before you join the M9 near Ratho Station, on the left-side of the road where the last building stands (a company called Element), you need to look through their high metal fence. Just in front of the large windows, you’ll see this tall standing stone (if you’re coming here via public transport, there’s a bus-stop less than 100 yards away on both sides of the dual carriageway). Y’ can’t really miss it!
Archaeology & History
A prehistoric site which, today, has lost all value in terms of its original ambience. The traffic and aircraft noise here is non-stop and prevents all forms of quietude and refection. Added to this is the fact that it’s behind the high fencing of the warehouse, stopping you getting close to it. But, I suppose, at least it’s still standing after all these centuries. In many other parts of Britain, it would have been destroyed long ago…
It seems to have been mentioned for the first time, albeit briefly in John Smith’s (1862) early survey of the local prehistoric sites. He told it to be a,
“large standing stone…of coarse greenstone,” which “bears no inscription or sculpturing of any kind, and measures about 10 feet in height from the surface of the ground.”
Old stone, new home
Many years later when the Royal Commission (1929) this way ventured, they weren’t much more descriptive, but postulated, not unreasonably I might say, that it functioned as a deliberate outlier from the impressive Newbridge megalithic complex 350 yards to the west. They may be right. “In shape it is an irregular four-sided prism,” they wrote, “measuring 9 feet 3 inches in height and 10 feet 6 inches in girth.” The local megalith surveyor Adam MacLean (1977) pointed out that, relative to the prehistoric complex 350 yards away, “it is in the right position to act as an equinox sunrise marker.”
References:
MacLean, Adam, The Standing Stones of the Lothians, Megalithic Research Publications: Edinburgh 1977.
Royal Commission Ancient & Historical Monuments of Scotland, Inventory of Monuments and Constructions in the Counties of Midlothian and West Lothian, HMSO: Edinburgh 1929.
Swarbrick, Olaf, A Gazetteer of Prehistoric Standing Stones in Great Britain, BAR: Oxford 2012.
Acknowledgements:Huge thanks for use of the Ordnance Survey map in this site profile, reproduced with the kind permission of the National Library of Scotland.
On the west-side of the River Spey from Fochabers, follow the road-signs taking you south on the B9015, and near Inchberry is a tiny road on your right (careful not to miss it). Go along here to the end of the long straight road and turn right, down the track. When you reach the trees, bear left along the track to St Mary’s, Orton, marked “Private road”. 🙂 Parking is limited to one car only but very quiet.
Archaeology & History
St Mary’s Well, Inchberry (21st Century Pict)
Set in a stunning location next to the river Spey with a magnificent view of Ben Aigan to the south, St Mary’s Holy Well and Pool is easy to find behind the Chapel / Mausoleum wall, dedicated to the Duff Family. There is a small stone basin in the wall which may have been the Chapel font. At the time of my visit the weather has been dry and sunny for some time. The pool below the iron grate has been recently cleared of leaves before my visit, with no standing water but the stones on the bottom of the pool looked damp. And with the cemetery above and behind the wall, perhaps it was for the better.
It was clear and running, said J.F.S. Gordon (1880) at the end of the 1700s, but when he came to write about it the flow “has ceased for many years, and is now only a feeble, filthy, stagnant Driblet for the use of cattle.” Pilgrimages were made here on the first Sunday in May, and water collected from the site was kept for a year, in return for an offering (usually a stone or other inanimate object) that enabled the magickal spirit of the well to enact cures.
Folklore
A site described by Watson (1868) as being “long held in superstitious reverence”, the well was said to cure whooping cough, eye problems and joint conditions. It had thoroughly un-christian shennanigans practised here by local folk, much to the consternation of the usual culprits! Visited extensively by people from far and wide, Mr & Mrs Morris (1981) told,
(21st Century Pict)
“The visits displeased the Kirk and there were various summonses to the Session for “going supersticiously to a Vell at Speyside” and of persons who “kneillit about the chappell and drank the water.” The minister at Ruthven reported that a large number had gone to the chapel well “thrie Saturdays before Lambas and thrie efter called the six silie Saturdayes, and that the conventions wer on the night or before day in the morning.” And “quhairas zierlie about Lambnes, the ignorantes repaired to ane wel at this kirk, called Our Ladie Wel, superstitiouslie, and kneeled about the said kirk, it is reportit that the evil is removed.” This may be the well associated with the White Witch, Dame Aliset, who cured a fairy child with simples and the well water.”
References:
Bord, Janet, Holy Wells in Britain – A Guide, HOAP: Wymeswold 2008.
Watson, J.& W., Morayshire Described, Russell & Watson: Elgin 1868.
Acknowledgements:Huge thanks for use of the Ordnance Survey map in this site profile, reproduced with the kind permission of the National Library of Scotland.
Cross (replaced): OS Grid Reference – SD 8936 2883
Archaeology & History
“Maiden Cross” stone
Highlighted on the 1848 Ordnance Survey map, the original stone ‘cross’ has apparently been moved from its location up against the walling 30-40 yards away and placed by the roadside, just as you’re going into where the windmills are, right at the very crown of the hill, across from the car-park. I’m not so sure it’s the original one to be honest—but I may be wrong. Clifford Byrne (1974) certainly thought this is the original stone. He may be wright. Byrne told that “the Marquis of Colne had a photograph of the stump of the cross in situ,” which would be good to compare. It’s nowt special to look at, but at least the site has been remembered, so to speak.
Site shown on 1848 map
The Maiden Cross was one in a series of wayside crosses along this ancient high road—known as the Long Causeway—not only marking it out when the snows covered it in the old Winters that we used to get, but also possessing religious importance to travellers. It was first moved sometime in the 19th century and “utilised as a gatepost into Maiden Cross colliery”—itself long gone.
Folklore
The name given to the ‘cross’ comes from a story that’s found at a number of other ‘maiden’ place-names. There may be an element of truth in it. It was told to the great historian and folklorist T.T. Wilkinson by his grandfather in 1766 and, according to him, his grandfather before that! J.A. Waddington (1884) subsequently wrote down the tale that Wilkinson told him:
“During the time of the great rebellion, this was the trysting-place of a young shepherd with his lady love. Often did they meet to pledge their simple vows at this lonely place, until one day a messenger came from Towneley to collect as many young men as he could get to swell the ranks of Rupert when he passed through this part to join the Royal forces at York, a march which ended with the disastrous fight at Marston Moor, on whose bloody sod lay stretched the chivalrous Towneley, and a many of his followers, including this young man, the victims of a tyrannical and ambitious king. For many a long year after this tragical event the poor demented maiden would repair to this hallowed spot, repeating with a sorrowful voice his promise to return.”
This was curiously described by Ormerod (1906) as “a pathetic tradition”! He much preferred the simple idea of this (and the other crosses along the road) as merely serving “the capacity of guideposts to the traveller (overtaken in a mist or by the swiftly lowering shades of light) who might be traversing these lonely roads”, as Waddington put it. Ormerod cited a conversation he had with “an old road mender” which for him confirmed the idea:
“Asked if he had heard what was the object of these crosses, he said, that “Joonas Lee said as they were put up 250 yer sin, for guideposts for’t pack horses, between Halifax and Brunshaw” (Burnley), adding, as if to give more weight to the authority he had quoted: “An he wur a far larned chap wur Joonas—he wur a preycher.”’
Walter Bennett (1941) meanwhile, thought its name derived from the Virgin Mary and this cross, at least, possessed religious importance.
References:
Bennett, W., The History of Burnley – volume 1, Burnley County Council 1946.
Byrne, Clifford, A Survey of the Ancient Wayside Crosses in North-East Lancashire, privately printed 1974.
Holden, Joshua, A History of Todmorden, Manchester University Press 1912.
Waddington, J. Arthur, ‘The Crosses in and Around Burnley’, in Transactions Burnley Literary & Scientific Club, volume 1, 1884.
Acknowledgements:Huge thanks for use of the Ordnance Survey map in this site profile, reproduced with the kind permission of the National Library of Scotland.
Take the same directions as if you’re visiting the Tormain (1) carving (the best one of the bunch here), but about five yards before reaching it, to your immediate left, just at the edge of where the hill drops down slightly, you’ll see a small flat rock poking out of the ground that may have been cut and quarried at some time in the past. That’s the one!
Archaeology & History
This small compact design looks like a typical cup-marked stone with the usual scatter of cups in no seeming order—until, that is, you walk around it and look at it from different angles, whereupon you’ll notice that a couple of distinct deep carved lines have been cut in a cross formation, with cup-marks at the ends of the crucifix. My view of this is that cup-marks were done first, probably in the standard Bronze Age period, and the ‘cross’ was cut into the stone at a much later date, probably during the early christian era. The depth of the lines which create the ‘cross’ is deep and thin at the bottom, suggesting a metal tool, which seems to have been cut into an natural crack. Visitors here will notice a small drill-hole near the edge of the stone which seems to have been done by local quarrymen, probably in the 19th century.
It was first described in Romilly Allen’s (1882) article on the Tormain stones. He called it ‘Stone E’ and told that it
Location of Tormain 5Cups, lines & cross form
“is situated about half-way between stones A and D, and is furthest to the east. It measures 1 foot 4 inches by 1 foot 9 inches, and projects 1 foot above the turf. Its upper surface is flat, and on it are carved eight cups varying in diameter from 1 to 2½ inches. There are two connecting grooves between three of the cups, forming a rude cross. Another cup has a channel leading over the edge of the stone.”
In November 1927, the Royal Commission dudes visited the carving (and its companions), but they had to roll back the turf to see it clearly. On the stone they saw that “at least nine or ten cup-markings, in some cases with connecting gutters, are still more or less clearly outlined.”
Carving highlighted (Morris ’82)Ron Morris’s old photo
When Ron Morris (1981) visited here, he highlighted the carving in chalk to get a decent impression of the design, as the attached photo here shows. Many traditional cultures ritually paint their carvings at set times of the year, in traditions that go back many centuries—perhaps even millenia. In all probability the same thing was done at some of the British petroglyphs, although there are no remaining traditions. Anyhow, Morris described it succinctly as:
“½m square, ¼m high…on which are: eight cups up to 7cm (3 in) diameter and 4cm (1½ in) deep and some grooves, to of which connect some of the cups to form a well-defined Cross.”
The stone was looked at by the great rock art explorer Kaledon Naddair of Edinburgh, but sadly I’m unable to locate his report and the fine illustrations that always tended to accompany them. If you’re reading this sir, give us your valuable input!
Beckensall, Stan, Rock Carvings of Northern Britain, Shire: Princess Risborough 1986.
Beckensall, Stan, British Prehistoric Rock Art, Tempus: Stroud 1999.
Feachem, Richard, Guide to Prehistoric Scotland, Batsford 1977.
Hadingham Evan, Ancient Carvings in Britain: A Mystery, Garnstone: London 1974.
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 Ancient & Historical Monuments of Scotland, Inventory of Monuments and Constructions in the Counties of Midlothian and West Lothian, HMSO: Edinburgh 1929.
Acknowledgements: Huge thanks to Jan Carrington for use of her photos. 🙂
