From Ilkley town centre take the road up to White Wells (ask any local if y’ can’t find it), but instead of heading up the track to the wells, keep on the road and, after just over 200 yards, turn left up the Keighley Road. Half-a-mile up there’s a dirt-track on your right which leads to Silver Well Farm. Walk along here for about 150 yards, keeping your eyes peeled for a large rock in the heather about 50 yards up onto the moor. You’ll find it.
Archaeology & History
Located just 100 yards west of the old Roman road that effectively runs north-south through the middle of Rombalds Moor and which, when this carving was executed, was a prehistoric trackway, this is an impressive carving, all but unknown by many. On my last visit to this stone—maybe 10 years ago or more—it was a cloudy day. I know this from the fact that the design on the stone was difficult to see in its entirety. But not anymore! When the northern antiquarian Dave Whittaker came a-wandering this way a few years back, the stone so overgrown in vegetation that the design was very difficult to appreciate and, like any healthy curious antiquarian, he wanted to know what the full carving would look like. He enquired whether or not it was OK to uncover the stone from beneath its mass of heather to see the full image and, as far as we were concerned the idea was a good one. And so, following in the footsteps of Beckensall, Currie, Chappell, me and a few others, he got stuck in!
Cup-and-rings from above (photo by Dave Whittaker)Looking across the stone (photo by Dave Whittaker)
As you can see in Dave’s fine photos, the petroglyph is indeed a fine one. It comprises mainly of four cup-and-rings, two of which are incomplete The rings, as you can see, are very faint, whilst the cups, both in the rings and those outside of them, are notably deep; perhaps indicating that they were carved into many times over a long period.
One of the great petroglyphic pioneers, J.Romilly Allen (1882) seems to have been the earliest to record this carving. Allen’s early sketch (below) was obviously drawn on a shady day, as it misses several of of the rings that are clear to see when the the daylight is just right. It’s an easy mistake to make. He wrote:
J.R. Allen’s 1882 sketchHedge’s 1986 sketch
“One mile south-west of Ilkley is a road leading over the top of the Moor…very appropriately as Weary Hill. To the west of the road, and between it and the boundary-wall of Silver Well Farm, is a small boulder of gritstone with cup-markings on it. It lies at a level of 900 ft. above the sea, and it measures 8ft by 5ft. On its upper surface, which is nearly level, are carved ten cups, varying in diameter from 2 to 3 ins., one of them being surrounded by a single ring.”
The pseudonymous “A. Reader” (1891) also included the stone in his international overview of prehistoric carvings, but merely copied the notes of his predecessors. Nearly a hundred years later when archaeologist John Hedges (1986) did his survey of these moors, he described this carving simply as:
“Medium seized rock…in grass, heather and crowberry with c.ten cups, four with rings, two with grooves from rings, three depressions and series of probably natural lines running down to bottom edge.”
And as with the pseudonymous A. Reader (1891), Boughey & Vickerman’s (2003) also just copied Hedges’ earlier description.
Seeking numeracy in Alan Davis 1988 sketchAnd from another angle (photo by Dave Whittaker)
The greatest analysis of this carving to date is by physicist and mathematician Alan Davis. He set out in 1983 to explore the possibility of there being a universal measurement used in neolithic times that was coded into our cup-and-rings—a theory first espoused by the great archaeo-astronomer Alexander Thom. (1968) He selected carvings from Rombalds Moor and Northumberland, including this one at Weary Hill (calling it the I/1 carving) to see if a ‘megalithic inch’ (MI) that was propounded by Thom had any foundation in fact. As a mathematician he was ideally qualified to examine this proposition. His 1983 paper found there to be “substantial support” for this prehistoric megalithic inch. However, in a subsequent 30-page analysis of the same carvings Davis (1988) found that some criteria in his initial investigation needed re-examining. In his updated report he told that “many of these deficiencies have now been remedied.”
His initial 1983 report concluded the Weary Hill carving possessed a deliberate mathematical code in accordance with Thom’s MI. However in the subsequent 1988 report, Davis found that the measurements were based on 5MI and 3 MI, but only in the cup-and-rings and not the single cups. Despite this, there remained an overall scepticism in terms of any deliberate universal use of the MI. My own take on this is a simple one: there was no deliberate use of any MI at carvings. Where we do find precise MIs, this is due simply to the average size of human hands, meaning that some obvious figurative correspondences will occur upon investigation. The more you think about it, the more obvious it becomes.
Anyhow, all this intriguing geometry aside: to those of you who take the time to check this out, have a bimble in the heather barely 100 yards west and you’ll find a few other carvings sleeping quietly, whose site profiles I’ve yet to do…
References:
Allen, J. Romilly, “Notice of Sculptured Rocks near Ilkley,” in Journal of the British Archaeological Association, volume 38, 1882.
Anonymous, Walks Around Cup and Ring Stones, ITIC: Bradford n.d. (1995)
Boughey, K.J.S. & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Collyer, Robert & Turner, J. Horsfall, Ilkley, Ancient and Modern, William Walker: Otley 1885.
Davis, Alan, ‘The Metrology of Cup and Ring Carvings near Ilkley in Yorkshire,’ in Science and Archaeology, 25, 1983.
Davies, Alan, ‘The Metrology of Cup and Ring Carvings,’ in Ruggles, C., Records in Stone, Cambridge 1988.
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Reader, A., Archaic Rock Inscriptions, privately printed: London 1891.
Thom, Alexander, “The Metrology and Geometry of Cup and Ring Marks,” in Systematics, volume 6, 1968.
Turner, J. Horsfall, Historical Notices of Shipley, Saltaire, Idle, Windhill, Wrose, Baildon, Hawksworth, Eccleshill, Calverley, Rawdon and Horsforth, Shipley Express: Idle 1901.
From East Morton village, take the moorland road, east, and up the steep hill. Where the road just about levels out there’s a right turn, plus (more importantly!) a trackway on your left which leads onto the moor. Walk up this track for ⅔-mile until you get to the point where the moorland footpath splits, with one bending downhill to an old building, whilst the other smaller footpath continues on the flat to the north. Go up here for 400 yards then walk off-path, right, for about about 150 yards. But beware – it’s boggy as fuck!
Archaeology & History
On this featureless southern-side of Rombalds Moor, all but lost and hidden in the scraggle of rashies, a very boggy spring emerges somewhere hereabouts. I say hereabouts, as the ground beneath you (if you can call it that!) is but a shallow swamp and its actual source is almost impossible to locate. If you want to find the exact spot yourself, be prepared to put up with that familiar stench of bog-water that assaults our senses when we walk through this sort of terrain. Few are those who do, I have found… But somewhere here, amidst this bog—and still shown on the OS-maps—is the opening of what is alternatively called Redman’s or Richmond’s Spa. We don’t know exactly when it acquired its status as a spa-well, but the 18th century Halifax doctor, Thomas Garnett—who wrote the early work on the Horley Green Spa—appears to be the first person to describe it. Garnett (1790) said how the place:
“was first mentioned to me by Mr W. Maud, surgeon, in Bradford, who went with me to see it. It is situated on Romalds-moor, about two or three miles from Bingley, and goes by the name of Redmire-spaw. The access to it is by no means good; the ground about it being very spongy and soft. On the bottom and sides of the channel is deposited an ochrey matter, of a very fine, bright, yellow colour; and which I believe is used, by the country people in the neighbourhood, to paint their houses. It sparkles when poured into a glass and has a taste very like the Tewit-well at High-Harrogate; which water it very much resembles in all its properties, and seems to be about the same strength… This water seems to hold a quantity of iron dissolved by means of fixed air. Its taste is very pleasant; it is said to act very powerfully as a diuretic, when drank in considerable quantity, and may prove a useful remedy, in cases where good effects may be expected from chalybeates in very small doses; the fixed air, and even the pure water itself may be useful in some cases. It is, however, necessary to drink it at the well, for it seems to lose its iron and fixed air very soon.”
I’ve drank this water, and believe me!—it doesn’t quite taste as pleasant as Mr Garnett espouses! Its alright I s’ppose—but drinking water from a bog isn’t necessarily a good idea. That aside, I find it intriguing to hear so much lore about such a little-known spring; and it is obvious that the reputation Garnett describes about this spa came almost entirely from the local people, who would have been visiting this site for countless centuries and who would know well its repute. Below the source of the well the land is known as Spa Flat, and slightly further away Spa Foot, where annual gatherings were once held at certain times of the year to celebrate the flowing of the waters. Such social annual gatherings suggests that the waters here were known about before it acquired its status as a spa—which would make sense. The remoteness of this water source to attract wealthy visitors (a prime function of Spa Wells) wouldn’t succeed and even when Garnett visited the place, he said how he had to travel a long distance to get here.
The origin of its name was pondered by the great Harry Speight (1898) who wondered if it derived from the ancient and knightly Redman family of Harewood, whose lands reached over here. But he was unsure and it was merely a thought. As an iron-bearing spring (a chalybeate) you’d think it might derive from being simply a red mire or bog (much like the Red Mire Well at Hebden Bridge), but its variant titles of apparent surnames casts doubt on this simple solution.
No one visits the place anymore. Of the countless times I’ve wandered the moors, rare have been the times when I’ve seen folk anywhere near this old spring. It is still coloured with the same virtues that Garnett described in the 18th century: the yellowish deposits, the boggy ground, much of which reaches to the truly dodgy Yellow Bog a short distance north and which should be completed avoided by ramblers after heavy rains (try it if y’ don’t believe me—but you’ve been warned!).
Various ways to get here, but probably the easiest is to start from Cow & Calf Rocks, walking up the steep slope onto the moor-edge. Paths veer left and right once you’re on the level, but you wanna head straight forward, west(-ish), for about 350 yards till you reach the stream. Cross over and then take the path that runs parallel with the stream, uphill. Nearly 200 yards up, where the moor begins to level out, you cross a path running east-west; keep going past this for about another 50 yards (as if you’re heading to the Backstone Circle) and you’ll notice some small sheep-paths leading you into the heather to your right and, some 40-50 yards into the heath you’ll see this large flat stone!
Archaeology & History
This carving seems to have been rediscovered in the 1950s by Michael Walker and Stuart Feather. They were amongst a small group of people who visited this and some other carvings in June 1956, when the first (known) sketch of the carving was done by Mr Walker. His sketch of the stone is somewhat more elaborate than the one in John Hedges’ (1986) later archaeological survey. Indeed, in some ways the two drawings seem to show little resemblance to each other. (not uncommon with these things!)
Walker’s 1956 sketchHedges’ 1986 sketch
Walker shows nine cup-and-rings in various states of completion, with several clusters of singular cups at different places on the rock—more than forty in all, some of which are connected to each other by short lines. This is in contrast with the later archaeological description, which saw far fewer of the primary symbols. When John Hedges (1986) described the carving in his inventory, he informed the reader:
“Fairly smooth, medium sized grit rock standing up in heather, crowberry and grass, sloping SW to NE with the hill, its almost triangular flat top covered with carvings, some very clear, interesting patterns. About thirty-five cups, seven surrounding a small ring with cups on the circumference and at centre. Two long grooves with a cup at one end, running down to the edge of the rock. ‘Peck’ marks noticeable in one groove and in one ring round a cup. Three other grooves going half round cups, or leading from a cup. Slice of rock apparently removed.”
Boughey & Vickerman (2003) added nothing new in their later survey.
Although we have an uninterrupted open view of the landscape to the north and west from here, it might not have been like this when the carving was done 4-5000 years ago. The scattered woodland covering these heaths may have impeded the views. However, immediately west of this carving are the broken remains of a small Bronze Age settlement, some of whose walling is traceable some 100-150 yards away and any tree cover that may have been here may have been cut back. We may never know for sure…
References:
Boughey, K.J.S. & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Leeds 2003.
Hedges, John (ed.), The Carved Rocks of Rombald’s Moor, WYMCC: Wakefield 1986.
Jackson, S. & Walker, Michael J., “Ilkley Boulders Tour,” in Cartwright Hall Archaeology Group Bulletin, 2:1, 1956.
Follow the directions to reach our superb Swastika Stone from Ilkley, visible due to the iron railing that surround and protect the carving on the cliff edge. From here, keep walking west along the Millenium Way footpath, over the stile of the first wall, then the second wall—six in all—for ⅔-mile (1km), where you’ll see another small crag of rocks on your right, just yards from the footpath. You’re damn close!
Archaeology & History
When the great J. Romilly Allen (1882) visited the Ilkley petroglyphs in 1878, the Piper Stone was one that he wandered over to see—and he had this to say of it:
“At the edge of Piper’s Crag is a horizontal rock-surface, and on a portion of it, measuring 5ft by 7ft, are carved a series of fifteen cups varying in diameter from 2 to 3 ins. Of these, one is surrounded by a single ring, four by a double ring, and one by a triple ring.”
Hedges 1986 sketchCowling’s 1940 sketch
This type of description, whilst accurate on the whole, rarely does justice to the carving. It was echoed more than 100 years later in John Hedges’ (1986) survey, when he described the large rock jutting out to possess merely, “a complicated design of cups, rings and grooves.” When Boughey & Vickerman (2003) did their follow-up survey, they added nothing more.
In an attempt to give some sort of meaning to the carving (and many others), the late great Eric Cowling (1940; 1946) placed it within Henri Breuil’s (1934) classification system, which assigns all carvings different degrees of complexity and form, from Classes 1-4. The Piper Stone entered Breuil’s Class 3A, being one “with deeply cut and smoothed down grooves.” Whilst this may sound good on the surface, in truth such classifications are utterly meaningless outside of the tables and graphs of statisticians and the boring. They give the appearance of quantitative research, but they have as much bearing on the nature of the carvings as an energy dowser healing the place with crystals.
In the flesh, in the real world—so to speak—from the Piper Stone we are looking, not just at the carving, but its place in the landscape: an ingredient that more and more emerging archaeologists are recognizing has a synergistic relationship with some petroglyphs. And here we have an impressive landscape that reaches out ahead of us for many miles. We look primarily to the north: the Land of the Dead in many traditional northern cultures. But our panorama here is 180º, with east and west horizons having the potential for measuring equinoctial periods in the cycle of the year. But in truth this is sheer speculation.
It’s a worthwhile carving to see, both for its views and its excess of non-linearity. In its form, Rorscharch impressions of early humans emerge; the usual solar and lunar symbols can be seen; star systems seem apparent; maps or settlement ground-plans could be there. We know that somewhere within it is the animistic ‘spirit’ of the rock itself, but the forms it exalts are, once again, all but lost on us modern folk…
References:
Allen, J. Romilly, “Notice of Sculptured Rocks near Ilkley,” in Journal of the British Archaeological Association, volume 38, 1882.
Allen, J. Romilly, “Cup and Ring Sculptures on Ilkley Moor,” in The Reliquary and Illustrated Archaeologist, volume 2, 1896.
Anonymous, Walks around Cup and Ring Stones, TIC: Ilkley n.d. (c.1990).
Baildon, W. Paley, “Cup and Ring Carvings: Some Remarks on their Classification and a New Suggestion as to their Origin and Meaning,” in Archaeologia, volume 61, 1909.
Bennett, Paul, “Cup-and-Ring Art”, in Towards 2012, volume 4, 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.
Breuil, Henri, “Presidential Address for 1934,” in Proceedings Prehistoric Society East Anglia, 7:3, 1934.
Collyer, Robert & Turner, J.H., Ilkley: Ancient and Modern, William Walker: Otley 1885.
Cist (destroyed): OS Grid Reference – SE 1196 3824
Archaeology & History
The remains of a prehistoric tomb existed near the foot-bridge on the south-side of the canal at Dowley Gap, but was destroyed during the building of the sewage works there in 1951. It was reported by a Mr Duncanson to Bradford’s Cartwright Hall archaeology group, who told how they accidentally uncovered it during construction work. He told that “stone cist (was) about 3½ feet long and 1½ feet deep and was found on rising ground at the western end of the works where the storm water tanks are now situated.”
We obviously don’t know the age of the cist, but such grave monuments are most commonly Bronze Age. The existence of the Crosley Wood Iron Age enclosure 4-500 yards NNW and the prehistoric circle 800 yards east are the nearest other known early period monuments.
References:
Jackson, Sidney, “Stone Cist at Bingley,” in Cartwright Hall Archaeology Group Bulletin, 3:6, 1958.
By whichever route you wanna take, get y’self to the prominent cup-and-ring marked rocks known as the Thimble Stones near the very top of these moors. From here, walk roughly 400 yards southwest onto the bare open moors (there are no footpaths here) and you’ll see these two isolated prominent boulders living quietly on their own. You can’t really miss ’em! You’re there.
Archaeology & History
Of the two giant boulders here, both are included in the petroglyph surveys of Hedges (1986) and Boughey & Vickerman’s (2003) as possessing “all natural” cup-marks on their top and vertical surfaces. Those on top of the rocks certainly seem to be Nature’s handiwork, whilst many of the seeming ‘cups’ on the vertical face of one (not the one pictured here) are due to gunshots. I’m not quite sure when they were done, but they certainly didn’t exist during the many visits I made here in the in the 1970s and ’80s.
They stones included in most of the standard antiquarian surveys of the 19th century, with the earliest being Forrest & Grainge (1869) who described them as,
“two detached masses of rock, standing alone upon the moor. The first is 14ft in length by 8ft in height, tapering to the ground; a set of cups and channels occupy the highest point. The other, distant 13 yards, is of an irregular square form, 45 yards in circumference and 7ft high. This stone appears to be tilted on its edge, presenting its cleavage upwards, and has hollows containing water, but is so much wasted above that if it has ever borne the cups and channels, they are now obliterated.”
On top of an Egg, c.1986
Collyer & Turner (1885) described “a number of cups” on the edge of the northern rock; and Romilly Allen (1896) likewise. Even that historical literary giant, Harry Speight (1900), added his own tuppence here, telling folks how both Eggs “are channelled and bear cups.”
It’s very possible that these isolated stones did have some sort of significance to our prehistoric ancestors. There are innumerable examples worldwide of rocks like this possessing ritual and mythic lore—and many in the British Isles too. And the cupmarks on the stones may have been enhanced by those same prehistoric ancestors. But we’ll never know for sure…
Folklore
The creation myth behind the Two Eggs is one echoed in traditions across the world. Folklore tells that the Eggs were said to have been laid here by a great dragon who lived within a hill some distance to the south. All other aspects of the tale have sadly long since been forgotten…
References:
Allen, J. Romilly, “Cup and Ring Sculptures on Ilkley Moor,” in The Reliquary, volume 2, 1896.
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.
Collyer, Robert & Turner, J.H., Ilkley: Ancient and Modern, William Walker: Otley 1885.
Forrest, Charles & Grainge, William, A Ramble on Rombald’s Moor, Northern Antiquarian: Bradford 2012 (1st published 1867-69).
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Speight, Harry, Upper Wharfedale, Elliott Stock: London 1900.
Follow the directions to reach the impressive Woofa Bank prehistoric enclosure. You need to find the walling that constitutes the enclosure itself and walk along to its eastern side where you’ll reach an ‘opening’, as if it may once have been an entrance at that side of the enclosure. A reasonably large sloping rock is on one side of this ‘entrance’. You can’t really miss it!
Archaeology & History
Unlike many of the other petroglyphs found within the Woofa Bank enclosure, the design on this one is faint — very faint indeed (much like the recently uncovered triple-ring petroglyph by the Thimble Stones). Comprising simply of a small cluster of cup-marks, you’ll struggle to see this one — unlike its compatriot on the western wall of the enclosure.
Looking down on the rockSome very faint cupmarks
It consists of a single cup-mark on the northern edge of the stone, whilst on the sloping southern part of the rock are a number of very faint cups, eroded by them there millenia of Nature’s wind and weathering. One or two of the cups are just visible in good lighting, but what are almost certainly a few more can be seen when the rock is wet and in low daylight hours. It’s a design that’s probably only of interest to the hardcore petroglyph fanatics, but without doubt this is yet another carving within this obviously important prehistoric enclosure.
The easiest way to find this is to take the same directions to reach the Woofa Bank settlement. Get your compass out and make sure that you’re at the northern edge of the settlement walling. From here, walk about 60 yards northwest and keep your eyes peeled for a rock about 2 feet high, curved and elongated with its top surface above the heather. You’ll find it.
Archaeology & History
The name I’ve given to this stone is a conjectural one based entirely on comparative petroglyph designs elsewhere in the world. Or to put it more simply: elsewhere in the world we find examples of prehistoric rock art showing animal tracks and rituals relating to hunting animals, and in the design of this petroglyph on Ilkley Moor I wondered if we might be looking at something similar. Internationally respected anthropologists, archaeologists, geologists and rock art specialists such as Lawrence Loendorf (2008), Polly Schaafsma (1980), Dennis Slifer (1998) and many others show examples of animal tracks in the US and Mexico (examples exist throughout the world), and it’s not unlikely that some of the petroglyphs in the UK represent such things. But, like I say, this particular carving may have nowt to do with such a thing and the idea is entirely conjectural on my part and is probably way off the mark.
Deer-print motif & cup
Located less than 60 yards (54m) northwest of the impressive Woof Bank enclosure, it’s possible that the first literary note of this was by Stuart Feather (1968) when he made note of five cup-and-ring marked rocks (which) have been revealed by erosion in 1968,” telling us that some of the motifs on the rocks included cups with and without rings, channels and eye-shaped marks (occuli)— the latter of which may relate to this stone.
A more definite description of the stone was made in John Hedges (1986) survey where he described it in that usual simplistic form, telling us: “Long rock, its surface on two levels, sloping N to S in heather. Two large oval cups and one cup at N end. One clear cup at S end.”
Hedges’ 1986 sketch
It is these two elongated cups that have the distinct appearance of deer tracks. (another animal with a similar footprint is the goat) The cup-mark in front of them and the one at the back of the rock may be something relative to the animal. But more important than this is to recognise that, in lots of cultures, animal tracks are represented in some petroglyphs. That’s more important to think about when you look at British rock art, than the improbability of this design being such a thing…
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Feather, Stuart, “West Yorkshire Archaeological Register – Ilkley (WR) Green Crag Slack,” in Yorkshire Archaeology Journal, volume 42, 1968.
Hedges, John, The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Loendorf, Lawrence L., Thunder and Herds – Rock Art of the High Plains, Left Coast: Walnut Creek 2008.
Schaafsma, Polly, Indian Rock Art of the Southwest, University of New Mexico Press 1980.
Slifer, Dennis, Signs of Life – Rock Art of the Upper Rio Grande, Ancient City: New Mexico 1998.
From Ilkley, go up to White Wells (ask a local if y’ get stuck) and walk round the back of the building. Walk to the trees and then follow the footpath up onto the moors; but after 70 yards a small footpath on your right goes up the slope. Take this and after about 90 yards it veers round to your left, following the contours up towards the copse of trees. Another 100 yards up it meets with another path and once here, just yards in front of you, right by the side of the footpath, is the stone in question.
Archaeology & History
First described in John Hedges (1986) survey, this simple cup-marked stone typifies many petroglyphs on these moors: a barely visible design much eroded by centuries of wind and water, with markings perhaps only of interest to the devoted student and explorer. But at least it’s a good place to sit, rest and watch the valley below.
Looking down at the cupsHedges 1986 sketch
This old fella looks to have only five cupmarks on its supper surface, one of which is elongated, as shown in Hedge’s drawing. However, when he saw this, he thought the elongated ‘cup’ consisted of three of them in a line, all linked up. He saw a “medium sized smooth grit rock standing in grass, its surface triangular in shape, with flat top sloping slightly N to S. Three cups connected by a groove, c. four other cups, all shallow and worn.”
This description was echoed in Boughey & Vickerman’s survey (2003), where they thought that the “triangular top surface has about seven worn cups, three connected by a short groove.” But if the light isn’t quite right, this can be very difficult to see.
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Table Stone carving (photo by Jonathan Warrenberg)
From Ilkley walk up to the White Wells and follow the footpath behind it up to the cliffs, up the stone steps and onto the moor itself. Once you’ve climbed the steps, walk uphill onto the moor for 100 yards, then turn right up a small path for another 80 yards until you reach the large Coronation Cairn with its faint cup-and-ring stone. From here there are two paths heading west: take the higher of the two for just 30 yards where a small group of rocks are by the path-side on your right. The curiously-shaped ‘upright’ one is the stone in question. You’ll see it.
Archaeology & History
Found high up on top of an oddly-shaped stone, somewhat like an anvil or small table (hence the name, courtesy of Jonathan Warrenberg), is carved a slightly worn, incomplete cup-and-double-ring. This aspect of the design is the one that stands out the most; but you’ll also see a cup-and-half-ring there too.
The carving seems to have been described for the first time in John Hedges (1986) survey (though I may be wrong), who described an additional feature to the design, saying:
“Small grit rock in possible cairn material, cut all round as if one pedestal, top surface triangular, sloping slightly SW to NE, overlooking Wharfe Valley, in grass and crowberry. Large cup with two vestigial rings, second large cup with vestigial ring. Possible third ring of corner edge (hewn off). Recent carving of initials spoils original carving.”
John Hedges 1986 sketchLooking from above (photo – Jonathan Warrenberg)
His description of the stone being “in possible cairn material” doesn’t seem true – although a number of petroglyphs are associated with cairns of varying sizes. Several other carvings can be found close to this one.
In Boughey & Vickerman’s (2003) later survey, they copy Mr Hedges earlier description, but with less detail.
The view from this stone is quite impressive. Even with the minor tree cover that would have existed when this carving was done, you’d still have clear views up and down the winding wooded valley that was carved by the River Wharfe. The moors to the north at Denton and Middleton with their own petroglyphic abundance could be chanted at with ease from here when the winds sleep. Tis a good spot to sit… if you’re lucky enough to get some silence…
References:
Boughey, Keith & Vickerman, E.A., Prehistoric Rock Art of the West Riding, WYAS: Wakefield 2003.
Hedges, John (ed.), The Carved Rocks on Rombalds Moor, WYMCC: Wakefield 1986.
Acknowledgments: Huge thanks to Jonathan Warrenberg for the use of his photos in this site profile – and also due credit for giving the stone its modern title. 🙂
