Easy enough to find once you’ve actually got to Wycoller. By car, the only real way to get here is from Colne, through the village of Winewall, and along the Wycoller road, which runs to a dead end. Once here, the old packhorse bridge with these cup-marks on it can’t be missed!
Weird one this! On the famous packhorse bridge close to the old hall, four of the stones have cup-markings etched onto them. It seems that at least three of the carvings are archaic; cups on one of them seems somewhat deep and appears to be medieval. A short article describing them was in the Bradford Cartwright Hall Archaeology Bulletin (1962) where they were just as puzzled about them. In 1979, J.A. Heginbottom described them in his survey on the prehistoric rock-art of upper Calderdale. The stones on which the cups were carved may have been taken from a prehistoric tomb on the edge of the moor further up the valley from here.
Folklore
Just next to this bridge is another, much older one, known locally as the Clapper or Druid’s Bridge which perhaps has some bearing on the curious cup-markings. Legend tells that this older construction was so called “because legend has it that it led to an amphitheatre where the druids held human sacrifices” – and the field just up from here (to the southwest) was known as the Dripping Stone Field. Hmmmmm…..
References:
Bentley, John, Portrait of Wycoller, Nelson Local History Society 1975.
Heginbottom, J.A., The Prehistoric Rock Art of Upper Calderdale, unpublished report: 1979.
Jackson, Sidney, ‘Cup-Marked Stones at Wycoller,’ in Cartwright Hall Archaeology Group Bulletin, October 1962.
Takes a bit of finding this – but if you like your rock art, it’s worth the search! You can follow directions for the getting to the Man Stone then, when you reach it, look to the near horizon to the east. Get to the bottom of the sloping hillside where a large rounded boulder sits and walk up the slope about 10 yards. Look around here cos you’re very close.
Woman Stone carvingCarving highlighted in chalk
Alternatively, from the Askwith Moor Road, follow the path to the triangulation pillar on Shooting House Hill. Keep going for another 100 yards and check a small path to your left (south). Follow this down until you get to the top of the slope. Go to the bottom of the slope and look around!
This carving is best checked out in winter and early spring: if you go here in summer & autumn there’s bracken covering the entire site & you’ll never find it!
Archaeology & History
Drawing by Inmaculada Ibanez-Sanchez
This stone was first discovered by Graeme Chappell and I during one of our many ambling explorations here in the early 1990s and was first mentioned in my Old Stones of Elmet (pp.149-152). Marija Gimbutas would have loved this seemingly matriarchal-looking cup-and-ring carving, suggestive of many Mother Goddess images she found across Europe – hence its title!
Woman Stone design (after Boughey & Vickerman)
I don’t think that the old-school archaeological types would lower themselves to say such a thing, but as I aint one of them I’m quite confident in saying that this carving does seem to be a pictorial representation of a female figure: one of the earliest of its kind in the British Isles? (check its nearby male compatriot, the Man Stone – a distinctly human figure and one of the earliest of its kind in the British Isles) Very close by we are left with old place-name remnants pointing directly at the presence of pre-christian goddess remains in the mythic landscape – an issue I’ll expand on in the near future.
In the survey by more recent rock art students Boughey & Vickerman (2003), their illustration of the carving makes it look even more like an early female figure! (though I hear they don’t like people giving the carvings names – unless, of course, one of them lot names it…)
References:
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.
Gimbutas, Marija, The Language of the Goddess, Harper-Collins: San Francisco 1989.
Gimbutas, Marija, The Civilization of the Goddess: The World of Old Europe, Harper-Collins: San Franciscoo 1991.
You need to get to the eastern edge of Keighley Moor by taking the country road northwest out of Oakworth (one of two roads) and head to the end of Newsholme Dean Valley at Slippery Ford. You can park up at Slippery Ford at Morkin Bridge, then walk up the road for 250 yards, turning sharp left up the dirt-track. Walk along its wibbly route for another 250 yards and watch out for the large boulder in one of the fields on the left. That’s it!
Archaeology & History
Sketching the design
I came across this previously unrecorded carving in August 2006 after returning from an amble over the moors in the pouring rain and was fortunate to be able to make out the faint design, for, as with most cup-and-ring carvings, depending on the daylight conditions determines whether the carving is visible or not. Although some of the cup-marks on here are quite distinct, several are very faded and — as usual! — there are a number of dubious ones to work out!
Main design of cups & ring
The carving gets its name due to the rock having a carved epitaph for an old local farmer — called William Walker — on its eastern face. There are also the letters “I.W.” carved on its sloping upper face, which looks typical of boundary mark notation, though this stone aint been on any boundary for at least 160 years (I aint checked earlier records). But much older on top of the rock we find perhaps as many as 20 cup-markings, which at first I first thought might be natural, but this was suddenly halted when I noticed in the bad light a large circle with several cups along it, inside of which were two other cups. On the southern edge of the rock it seems there may be another 3 or 4 cup-marks, one with a line running down (possibly natural). I took a couple of pictures when I first found it but they weren’t too well-defined. The ones here are a little better.
Artist’s impression by Angela HainsworthClose-up of ring, cups & lines
The main feature here is obviously the curious ‘ring’ above a small eroded basin, consisting of several cups, with two in the centre. On closer examination it appears that the ‘ring’ is in fact an unfinished circle with the two central cups having lines running from them to the incomplete ring, leaving a gap or opening at the bottom. The lack of other cup-and-ring carvings in the vicinity (apart from the simple Cob Stone, 750 yards away below Grey Stones Hill) is an oddity. A few more ventures onto the local hills are definitely required to see if anything else can be found!
Acknowledgements: With thanks to Angela Hainsworth for her assistance and sketch of the design.
Truly takes a bit of finding this one! I s’ppose the easiest way to locate it is by approaching it from the south, from Askwith village, up Hall Lane. Keep walking up the footpath to Top Moorside Farm; then past it, sticking to the same path. A hundred yard or so past here we get onto the moor itself. As you hit the moor, you’ll see that the land rises slowly ahead of you: this is Hollin Tree Hill and you need to walk up here (don’t do this in the summer as it’ll be covered in bracken and you’ll not find a damn thing!). Just before the land starts to levels-out at the top of this small rise, you’ll come across some hut circles. You’re here!
image courtesy of Graeme Chappell
You can also come to this carving via the Askwith Moor parking-bit, then walk along the well-trod footpath, past the triangulation pillar of Shooting House Hill for a coupla hundred yards, then walk straight south into the moor. But to those of you who aint got the nose for it, there’s no footpaths here and some folk might easily lose their way. However, if you reach the rise of Hollin Tree Hill a few hundred yards down the moor, watch out for those same hut circles mentioned elsewhere atop of the rising land. You’re damn close!
Archaeology & History
One of my very favourite cup-and-ring carvings this one! It was discovered about 1991 when Graeme Chappell and I were on one of our many archaeology wanderings, seeking out prehistoric remains on the moors north of Ilkley. First described and illustrated in Bob Trubshaw’s (1996) archaeomythics journal, it was later included in The Old Stones of Elmet (2001: 149-152). But when we first found it, this carving – on the vertical face of a small stone, beside an unexcavated hut circle – sent me a bit crazy, as the ‘human’ image in the carving struck me immediately. Needless to say, Graeme was all calm about it while I jumped around like an excited tit! As far as we’re aware, this is the earliest representation of a human figure in the British Isles. There are several other contenders in cup-and-ring design, but this seems the most probable of the lot. Graeme Chappell took a rubbing of the stone several years after we’d found it and the outline clearly shows the image of a human figure. The carving was later catalogued by rock art students Boughey & Vickerman (2003) in their Yorkshire survey as ‘stone 516.’ A female compatriot, the Woman Stone, can be found a few hundred yards east of here, at the bottom of the slope by the near horizon.
The fact that the carving occurs on the southern vertical face of a prehistoric hut circle may have had some significance about the structure itself. Petroglyphs on hut circles are rare—and this one occurs right at the entrance to the structure, the door into the circle. It may represent an image of the person who lived in this hut circle, or perhaps symbolized the nature of the character living there. The carving shows that the person was wearing a head-dress, akin to a horned-man figure – but much much earlier than anything previously recognised in British iconography. The figure may well be a shaman who, perhaps, lived at this circle. The carving was probably painted in lichens and other dyes
The Man Stone carvingBoughey & Vickerman sketch
Be careful not to wander around looking for this when there’s fog on the hills. You’re unlikely to find it! On an excursion up here several years back with Prof. Thomas Dowson and students from the Southampton University Rock Art course, we wandered about all over the place in the dense fog but were unable to find the damn thing! Twas a bittova freaky day, as half the students started crying (they thought I’d got them truly lost in the middle of nowhere as I didn’t have a map, a compass, walking boots, etc – which is how I usually do my wanderings, but they weren’t to know that!) and we must have walked within 10 yards of the carving, but it remained hidden from our prying eyes. But if you like your rock art, check this one out!
