Walk up from Ilkley to the White Wells and keep following the footpath upwards, up the steps and onto the moor itself. Once you’ve got to the top of the steps above the rocky valley, look straight up the slope in front of you and walk directly up the hill. As you near the top, there’s a large cairn sat on the brow of the hill (known as the Coronation Cairn). This ‘ere carving is just a few yards below it.
Archaeology & History
Very little has been written of this albeit innocuous carving — if indeed it is a carving! Found on the large (though overgrown) flat stone just a few yards below the Victorian cairn, all that we appear to have here is a large cup-marking with a small arc pecked around its southern side and a distinct straight line running outwards from the cup (though the line doesn’t actually touch the cup-mark and does give the distinct impression of being pretty recent). A sort of “cup-and-half-ring” with extended line is perhaps the best description!
Close-up of cup & linesCarved Stone 270
It was first reported by some English Heritage archaeologist — which, as is generally acknowledged, isn’t necessarily a good pointer for authenticity when it comes to identifying prehistoric rock art.* But it’s certainly got a bit more about it than some “carvings” they’ve reported in the past! Boughey & Vickerman (2003) made the following notes of this stone:
“”Low, flat gritstone rock quarried away on E side, fairly smooth but uneven. One large cup and deep groove slightly curving round edge of cup.”
Which is about right. I don’t really think too many of you will be into this unless you’re a real rock-art fanatic!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John, The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
* A number of cup-marked stones identified by English Heritage archaeologists have transpired to be nothing more than natural erosion.
Take the road up across from Ilkley train station uphill towards the moor until you reach great rocks on your right. From here, the Cow & Calf Stones car park (packed with tourists and litter everywhere these days), go up the steep footpath onto the moor. As you level out looking across the first moorland ridge, to your left is a rounded hillock. Go into the heather there and near its small peak and you’ll find what you’re looking for.
Archaeology & History
This is a nice big stone, found amidst a clump of other stones, that gives the distinct impression of once being a large cairn or similar artificial prehistoric feature. But that’s wishful thinking on my behalf… This long fat 10-foot long rock has the distinct signature of someone who thought it a good idea to carve his little name on the carving in 1978, as the name of the rock tells: “Wray Nov 78” — vandalism which the local Ilkley Parish Council and local businessman Tom Lonsdale validate as little more than “twenty-first century informal unauthorised carving.” Beneath the great artist’s signature we find two distinct cup-marks above a large rounded bowl, inside of which seems to be the impression of an old ring, but this seems due to the actions of water and lichen. There are perhaps another two faded cup-markings alongside those distinctly visible. In Hedges (1986) survey he described the “top flat surface has three cups and one basin” — so let’s play safe and go with that!
Close-up of cups, bowl & modern etching
It’s a good stone, sat upon a fine ridge with distinctive views for miles both east and west along the valley of the Wharfe, and north to the ancient settlements and burial grounds of Middleton Moor on the other side of the River Wharfe. From here, behind and up onto Ilkley Moor, unfolds its greater mythic history, scattered and hidden over differing ages. In years past, this site was a fine one for reflection and insight. Today, one must venture further and to other sites for such quiet realities. Close by you can find the double-ringed carving of stone 318 and other faded cup-mark stones nearby.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Cowling, E.T., Rombald’s Way: A Prehistory of Mid-Wharfedale, William Walker: Otley 1946.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Head up to Rivock’s Wondjina Stone carving, then keep going east to the Long Rock. Wander 100 or more further east till you see the fence, and about 50 yards before this check out the large rocks which you’ll notice near to each other. One of them is this Split Rock!
Archaeology & History
First described in Hedges’ (1986) survey, this is a large flattish boulder, split across one side, with two distinct cup-marks on its eastern side and a number of other ‘possibles’ scattering the surface. The most intriguing bit to this rock is on its lower eastern side. Here’s what Boughey & Vickerman (2003) described as,
Deep cup-and-half-ring
“one clear cup (doubtful) discovered under turf…at extreme lower SE corner, with possible attempt at pecked partial ring.”
This cup they describe as “doubtful” is quite deep, but the half-ring on its northern side has definite artificial peck-marks. I’m more of the opinion that this cup-and-half-ring is man-made — though whether it was done in more recent years is the more debatable aspect here. I’ll try getting some better images (and a drawing) of this stone when we’re next up here.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, West Yorkshire Archaeology Service 2003.
Hedges, John, The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Head up to the lovely Wondjina Stone carving, then walk east towards the triangulation pillar. Keep going, over the wall – and keep going straight on, over the next wall (no footpaths up here at all). You’re now into rough heathland, but if you’re a real cup-and-ring freak, keep heading another 150 yards east, zigzagging slightly. You’ll eventually find it!
Archaeology & History
Long Rock carving, Rivock
A quite large, smooth earthfast rock, but nowt much to look at unless you’re one of the crazy bunch! This is just another one of our basic cup-marked rocks with very little modern archaeo-history attached. There are perhaps as many as four cup-markings etched onto the stone: two at the northern end, one a little further down (not mentioned in Boughey & Vickerman’s survey) and another one cited towards the south end of the stone. Gotta be honest though: a couple of them are slightly dubious and may be natural — but hopefully not! (soz about the crap photo of this poor carving; but the light was shit & our camera packed-up!)
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, West Yorkshire Archaeology Service 2003.
Follow the same directions to reach the Pancake Stone, but about 100 yards west, following the footpath that runs along the edge of the ridge (towards the large Haystack Rock a few hundred yards west), watch out for these large seemingly split rocks, with one elongated length of stone by the pathside. You can’t really miss it!
Archaeology & History
Very little’s been said of this carving as it’s just one more of the many rocks with just a solitary cup-marking etched on top — as we can see in the photo. The cup-mark is near the bottom, southeast-ish portion of the rock and is plain to see.
(Note: I’m not 100% sure that I’ve got Boughey & Vickerman’s (2003) numbered carving correct here. They describe a carved rock very close by here as an “upstanding rock, part of a large split rock,” as their ‘number 326’ carving — which is roughly similar; though I’m not totally sure! No other single cup-marked stone is listed in their survey close by, so assume it’s the same one as in their work.)
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, West Yorkshire Archaeology Service 2003.
Hedges, John, The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Cup-Marked Stone: OS Grid Reference – SE 0791 4422
Archaeology & History
Ant Stone, uncovered
Discovered today, amidst a cluster of other carvings not previously catalogued. This was hidden beneath a mass of vegetation, but after cutting and digging into the peat on top of the stone, several cup-marks became evident. By the side of the rock, measuring roughly 8 feet by 5 feet, was a small ant’s nest — hence the convenient name of the carving.
Central design of the carving
The main feature is the large, perhaps natural cup-mark, about 3 inches across. But three distinct artificial cup-markings were etched around the edges of this larger ‘cup’. When we found this stone, the daylight was nearing its end and we were unable to ascertain any further features carved onto the rock. Several other carvings were close by, none of which were included in the survey by Boughey and Vickerman. (2003) After we’d finished here, we covered the stone back over with its peaty quilt and hoped that the ants weren’t too pissed off about us disturbing them…
Cup-Marked Stone (lost): OS Grid Reference – SE 060 440
Getting Here
This carving is somewhere between Rivock’s western woodland edge, into the meadowlands next to it, down towards Robin Hood’s Wood. Good luck if you find it!
Archaeology & History
The lost Abacus Stone design
I found this carved ‘design’ when I was but a nipper, as they say! I was up all day, bimbling abaat checking out the stones and stuff, with notepad and pencil and found a number of cup-marked stones that I hadn’t come across in Stuart Feather’s surveys (the Hedge’s [1986] survey hadn’t been published at the time). I’ve been back up round the Holden and Robin Hood’s Wood district several times in recent months, hoping to re-locate this carving — but without success. I recall that when I found it all those years ago, how the design itself seemed almost ‘numeric’ in quality to look at (hence its title) and was hoping to come across it again, but the little fella’s hiding away somewhere!
The faded design was etched onto a small, slightly raised natural stone, no more than 3ft x 3ft and about 2 feet high. I thought that it might have been Boughey & Vickerman’s carving number 53 (Hedges survey, no.17), but it wasn’t to be. If anyone finds it again, I’d love to know!
References:
Bennett, Paul, Ramblings of Archaeological Remnants in West Yorkshire, unpublished: Shipley 1984.
Head up to the Cow & Calf Rocks and walk to the large disused quarry round the back (west). You’ll notice a scattered copse of old pine trees on the edge where the hill slope drops back down towards Ilkley; and there, two raised hillocks (unquarried bits) rise up where the pine trees grow. The carvings are on the flat rocks atop of one of the two hillocks. If you’re walking up from Ilkley, once you’ve crossed the cattle-grid in the road and the moorland slope opens up above you, just walk uphill towards the copse of trees and watch out for the rock outcrop in the picture here.
Archaeology & History
Very well-known to locals, folklorists and archaeologists alike, the remains of these old glyphs have caught the attention of artists, historians and Forteans alike for the images and tales surrounding them. It was obvious that in times past, that the carved remains that we see today would have extended considerably further, but the quarrying destroyed much of it. Indeed, we’re lucky to have this small section of carved rock still intact!
The rocks were first described as the Hanging Stones in the local parish records of 1645, and their name probably derives from the old-english word hangra, meaning ‘a wood on a steep hill-side,’ which is very apt here. The first known description of the site as possessing cup-and-rings appears to have been in a small article in the local Leeds Mercury newspaper in 1871. Several years later J. Romilly Allen (1879) wrote a lengthier descripton of the site:
“The crags from which these masses have been detached are known by the name of hanging stones, and at their eastern extremity is a large quarry. Between this quarry and the overhanging edge of the cliff a portion of the horizontal surface of the rock was some years ago bared of turf, thereby disclosing the group of cup and ring sculptures shown on the accompanying drawing. It will be seen that the design consists of twenty-five cups of various sizes, from 1 to 3 inches in diameter. Seven of the cups are surrounded by incomplete rings, many of them being connected by an irregular arrangement of grooves. The pattern and execution are of such a rude nature as almost to suggest the idea of the whole having been left in an unfinished state. The sides of the grooves are not by any means smooth, and would seem to have been produced by a process of vertical punching, rather than by means of a tool held sideways.”
Allen and other archaeologists from this period saw some considerable relevance in the position of this and the many other cup-and-rings along this geological ridge, telling:
“The views obtained from all points over Wharfedale are exceedingly grand, and this fact should not be lost sight of in studying remains that may have been connected with religious observances, of which Nature worship formed a part.”
J. Romilly Allen’s 1879 drawing of the carvingsWater-assisted double-ring on eastern rock
A common sense point that seemed long-lost to many archaeologists, adrift as they went in their measurements of lithics and samples of data charts for quite a number of years. In recent years however, this animistic simplicity has awakened again and they’ve brought this attribute back into their vogue. Let’s hope they don’t lose sight of it again!
There are tons of other archaeological references to this fine set of carvings, but none add anything significant to anyone’s understanding of the nature of the designs. We must turn to psychoanthropology, comparative religion and folklore if we want to even begin making any realistic ‘sense’ (if that’s the right word!) of this and other cup-and-rings. Curiously, the nature of this and other carvings is a remit archaeology has yet to correctly engage itself in.
Hanging Stones with “21st century informal unauthorised carvings”
On a very worrying note, we need to draw attention to what amounts to the local Ilkley Parish Council officially sanctioning vandalism on the Hanging Stones, other prehistoric carvings and uncarved rocks across Ilkley Moor. As we can see on a couple of photos here, recent vandalism has been enacted on this supposedly protected monument. Certain ‘officials’ occasionally get their headlines in the local Press acting as if they’re concerned about the welfare of the ancient monuments up here, but in all honesty, some of them really don’t give a damn. The recent vandalism on this stone and others has now been officially recognised as an acceptable “tradition” and a form of — get this! — “twentieth / twenty-first century informal unauthorised carving” and has been deemed acceptable by Ilkley Parish Council as a means to validate more unwanted carving on the moorland “in the name of art”! Of course, their way of looking at this has been worth quite a lot of money to a small group of already wealthy people. But with Tom Lonsdale and Ilkley Council validating or redesignated ‘vandalism’ as “twenty-first century informal unauthorised carvings”, this legitimizes and encourages others to follow in their shallow-minded ignorant footpath, enabling others with little more than a pretentious ‘care’ for both environment and monuments to add their own form of ‘art’ on cup-and-ring carvings, or other rocks on the moors.
Hanging Stones with more “21st century informal unauthorised carvings”
You can see in some recent vandalism — sorry, traditional “twentieth / twenty-first century informal unauthorised carving” — at the top-right of the Hanging Stones photo to the side, a very ornate ‘Celtic’-style addition, akin to the quality carved by well-known stone-mason Pip Hall who, coincidentally, has now been granted a lot of money to “officially” carve her own work on another stone further down the valley from here. With Miss Hall, Mr Lonsdale, poet Simon Armitage and Ilkley Parish Council each playing their individual part in encouraging what is ostensibly vandalism…errr…sorry – I keep getting it wrong – I mean traditional “twentieth / twenty-first century informal unauthorised carving” on the Hanging Stones monument and other cup-and-ring stones on the moor, we can perhaps expect a growth industry in this field…..especially if you’re wanting to make more money for yourself in the name of art or poetry. And if you apply to Rachel Feldberg of the Ilkley Arts Festival, you may get good money for your work… Seriously! (this is no joke either)
Please contact Ilkley Parish Council and other relevant authorities and express your dismay at their lack of insight and concern for the knock-on effects of their decisions on this matter. Other plans to infringe even further onto Ilkley Moor are in the business pipeline…
Folklore
Just underneath the carved overhanging rocks (walk off the knoll to the bottom of the rocks, facing the town), is a small recess or sheltered cavity which, told Harry Speight (1900),has
“From time immemorial (been) known as ‘Fairies’ Kirk’, and traditions of it having been tenanted by those tiny sprites, the fairies, still exist among old people in the neighbourhood.”
Tradition goes on to tell that when the Saxons arrived here, they were wont to build a christian church by the Hanging Stones, but the little people strongly resented this and fought hard against the invading forces. As the Saxons started building the edifice of the new religion, during the night the fairy folk took down the stones and moved them into the valley below. In the morning when the Saxons found this had happened, they carried the stones back up to begin building again; but each night, the fairy folk emerged and again took the stones to the valley bottom again. Eventually, after much hardship, the Saxon folk gave up the idea of building on the Fairie’s Kirk, as it was known, and the church that still remains in Ilkley centre was decided as an easier place to build their edifice.
Traditions such as this (of fairies moving stones back to whence they came, or away from ancient archaeological sites) are found throughout Britain and appear to be simple representations of the indigenous peasant hill-folk who strongly objected to their own sacred sites (rocks, trees, wells, etc) being supplanted by the invading religious force.
In more recent years the observation of curious light phenomena over these rocks have been seen, both over here and the Cow & Calf Rocks…
References:
Allen, J.R., ‘The Prehistoric Rock Sculptures of Ilkley,’ in Journal of the British Archaeological Association, vol.35, 1879.
Bennett, Paul, The Old Stones of Elmet, Capall Bann: Milveton 2001.
Bogg, Edmund, Higher Wharfeland, James Miles: Leeds 1904.
Collyer, Robert & Turner, J. Horsfall, Ilkley: Ancient and Modern, William Walker: Otley 1885.
Gelling, Margaret, Place-Names in the Landscape, Phoenix: London 2000.
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Leeds Mercury, ‘Prehistoric Remains at Ilkley’, 20 April, 1871.
Michell, John, The Earth Spirit: Its Ways, Shrines and Mysteries, Thames & Hudson: London 1975.
Size Nicholas, The Haunted Moor, William Walker: Otley 1934.
Smith, A.H., English Place-Name Elements – volume 1, Cambridge University Press 1956.
Speight, Harry, Upper Wharfedale, Elliott Stock: London 1900.
Follow the directions to reach the giant Haystack Rock, then follow the footpath west along the moor-edge, round where it bends keeping along the edge of the stream (Backstone Beck) below. A couple of hundred yards after the bend, right by the side of the path. You’ll see it! (if you hit the clearly defined ‘enclosure’ walling, you’ve gone too far)
Archaeology & History
No — not the Rosetta Stone; but it is a lovely carved rock this one. Best seen (as usual) when the rock’s wet and the sun’s heading for (or just emerged from) the horizon — but much of this image is visible even when She’s cloudy.
Close-up of ‘rosette’ design & and other CnRsThe Rosette Stone carving
First mentioned in literary terms (surprisingly) by M.J. Walker (1956), in a short write-up following one of the Bradford Archaeology Group’s moorland walks up here. Nearly six-feet along its longest axis, there are more than 30 cup-marks on this stone, at least three with rings; plus a variety of lines linking some cups to others. At its northern tip is the lovely little ‘rosette’ design, as archaeologists have called it. Others have seen this part of the design as a solar image; a flower; the Pleiades; a ring — take your pick! It is a lovely carving though (if you’re a sad person like me, who’s into these sorta things!). What relevance – if any – it may have had to the ‘enclosure’ within whose edges it sits, is anyone’s guess!
Excavations done close by (focusing mainly on the prehistoric ‘enclosure’ within whose domain this and other carvings occur) uncovered remains of old grooved ware pottery and the remains of flints. (Edwards & Bradley 1999)
The one thing we realise from looking at this design is the difference seen between the ‘accurate’ illustration drawn by archaeologists, and the flesh and blood of the stone itself, in situ. The living rock has much greater form and expression than anything which our desire for accuracy possesses. This aint knocking any attempt to portray the cups, rings and lines on paper correctly to show what the design originally looked like; merely that there’s a world of difference between the experiential vision of the carving and that done with graphic accuracy. But we all know that anyway – so please forgive my little sojourn into speaking the bleedin’ obvious!
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Edwards, Gavin & Bradley, Richard, ‘Rock Carvings and Neolithic Artefacts on Ilkley Moor, West Yorkshire,’ in Grooved Ware in Britain and Ireland (edited by Cleal, R. & MacSween, A.), Oxbow: Oxford 1999.
Hedges, John (ed.), The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
Walker, M.J., ‘Ilkley Boulders Tour,’ in Bradford’s Cartwright Hall Archaeology Group Bulletin, 2, 1956.
Pretty easy to find. Follow directions to reach the great cup-and-ring marked Haystack Rock, then follow the footpath west and drop down the slope, crossing the stream of the Backstone Beck below you, the up the steepish slope and turn sharp left when you hit the footpath before the top of this slope. Walk onto the moor! You’ll walk right past the cup-and-ring marked ‘carving 283’ on this path, then the ruinous Backstone Circle a bit further along (50 yds to your right), but keep walking for another 100 yards until you see a large boulder a few yeards to the left of the footpath. That’s it!
Archaeology & History
I first came across this as a kid, sometime in my early to mid-teens, pottering about, looking at any old rock that caught my eye. And this one isn’t hard to miss really. One of the best memories I’ve got of this stone was when a bunch of us came walkabout up here, sometime in the autumn, when the heavens poured all day long to saturation-point — even for those in all their protective gear, such good as it was in the late ’80s to early ’90s. There started out a fair bunch of us—between 20-30 folk—with numbers dwindling sharply when we reached the Apostles. But this stone was visited way before that! Along with Bob Trubshaw, Graeme Chappell, Kaledon Naddair, Edna Whelan and a troop of other mad-folk, we stopped for a while to consider this old rock, with only three cups really visible that day. The others (those cited by the archaeo’s) weren’t picked out, as I remember. But She was pissing-it-down and the wind was really giving-it-some, so we didn’t stop here for long! We all agreed though: it was a nice, worn cup-marked stone.
Gill Head rock carvingGill Head carving (after Hedges 1986)
John Hedges and the Ilkley Archaeology bunch had cited it as ‘cup-and-ring’ in their fine work — the first time this old carving had been in print since it was first etched! A few years later when Messrs Boughey & Vickerman (2003) checked it for their survey, no new features had been noted and they just copied Hedge’s earlier notes. Indeed, it’s just a large boulder with a few archetypal cupmarks on it when it first greets the eyes. Nowt special—and with no companions either.
This is another one mainly for the mad-folk and purists amongst us.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS 2003.
Hedges, John (ed.), The Carved Rocks on Rombald’s Moor, WYMCC: Wakefield 1986.
