#StonehengeAnything

It only took a tweet to confirm what I had long suspected.

Stonehengism isn’t just a problem for archaeologists. It is a social problem too. It is not just us – archaeologists – that seem to be obsessed with Stonehenge.

Despite being relatively well known amongst a certain select audience as someone who has, let’s just say, reservations, about the amount of time and attention focused on Stonehenge, the most popular things I do always seem to be about the fun or even positive aspects of Stonehenge.

My most liked blog post dates back over five years – and I can’t help feel that the visual focus and passing mention of Stonehenge in relation to it’s brutal look and feel attracted 220 ‘likes’, several pingbacks, and literally hundreds of new followers of the blog in the space of a week.

And so it has happened again, this time with a tweet. Posted on the evening of Friday 16th November 2019, it was an innocuous suggestion that twitter-users play a game which I called #StonehengeAnything

By any stretch of imagination compared to my usual social media track record, this went mental. Over an intense 72 hour period I struggled to keep up with all replies to my initial tweet, those using the hashtag for the game, and replies to others who retweeted the tweet, including a big signal boost from Alice Roberts and Sarah Parcak, who both played along as well.

As of the evening of 19th November, impressions and interactions were off the scale for what I normally achieve, plus I probably picked up over 50 new followers.

I added some variants as we went along, such as #StonehengeYourself. I also introduced the concept of a #StonehengeWhack – a noun that when matched with Stonehenge simply produces google images of Stonehenge with no added weirdness. This was based on an idea that comedian Dave Gorman popularised a few years ago, Googlewhack, “a contest for finding a Google search query consisting of exactly two words without quotation marks that returns exactly one hit” (wikipedia).

Stonehenge Sausage (source: Chimmy Blog, tweeted by @HeyerdahlKing )

What prompted this? In part it was due to some research I have been doing with Gordon Barclay for a paper we are working on related to late Neolithic studies and Neo-colonial geographies. I was doing a lot of Stonehenge-this and Stonehenge-that searching online to follow up various lines of inquiry, and some of these got a bit silly. Then I realised that no matter how silly things got, I still seemed to get a directly related image.

Photos of the real Stonehenge with things in the foreground. Photoshopped images of Stonehenge added to things, or things added to Stonehenge. Stonehenge corporate branding. Stonehenge merch. Trilithons made of all sorts of weird and wonderful materials. Things that someone thought looked a bit like Stonehenge. Stonehenge memes. Cartoons of Stonehenge. Relentless bloody Stonehenge. And some deeply weird combinations.

Stonehenge Clothes / Clothesline
(Markus George, Die Macht Der Bilder,
tweeted by @pighilltweets)

But I had something else in mind. In his excellent 1999 book Metaphor and Material Culture, Chris Tilley included an essay which I have always loved (and believe me I don’t love everything he writes) on the genealogy and usage of the word megalith. The essay ‘Frozen Metaphor: megaliths in text’ is a gloriously granular exploration of how rigid adherence to archaeological vocabulary constrains interpretations. The legacy of the weird faux-Latin word megalith has been one of reductionism, leading to a narrow range of pre-figured interpretations of things we call megalith.

This was a study in archaeological banality. Tilley writes this about the word megalith but he might as well have been writing about Stonehenge: “The term creates a particular form of discourse and – such is its power – there appears to be an inability to reinscribe the past in a fresh manner” (1999, 83).

One of the things that Tilley explored in relation to text was words that were combined with megalith. He noted common matches in the archaeological literature: words related to burial, monumentality, ritual. Then, he did a curious thing which exposed the banality of our discourse and the inadequacy of our vocabulary: he created Table 3.3. Drum roll please.

Tilley 1999 Table 3.3 – one of the most important tables published in an archaeology book

It is no coincidence that in my initial series of #StonehengeAnything tweets, I included Stonehenge Volvo.

Stonehenge Volvo. No idea what this has actually got to do with Volvo and I now can’t find the source!

Tilley noted: Bearing in mind what the word megalith actually means ie ‘big stone’, why is it that we might laugh at megalithic (big stone) vegetable when it is apparently quite normal and unproblematic to refer to big stone evolution, big stone people, big stone territories, big stone rituals, etc?

And so, Stonehenge has been rendered banal through its ubiquity. Stonehenge limits and constrains our discourse as a word, concept, and image. Why is Stonehenge Ritual any less – or more – nonsensical than Stonehenge Whiskey and Coke? Why do we have to accept Stonehenge Age but laugh at Stonehenge Marmite?

The ubiquity of Stonehenge is something that has been playing on my mind for a while. And not just in terms of the disproportionate amounts of intellect, money, and time spent on the archaeology of this monument and its surrounding landscape. I have also been concerned about the dominance of Stonehenge in the public imagination when it comes to British prehistory (not even just the Neolithic period). For many people Stonehenge is British / English prehistory.

For some Stonehenge is a political symbol of Britishness / Englishness, which is deeply problematic, and in some senses is enabled by the ways that archaeologists fetishise this place, and probably not helped by its pop culture aesthetic.

The Sun, 12 June 2018

This ubiquity comes in many forms. For instance, the coverage of Stonehenge in Britain’s popular archaeology magazine, British Archaeology, is remarkable in its quantity and depth in comparison to any other site, never mind any other Neolithic site. (The only story that came close to competing in the last decade was the discovery of the skeleton of Richard III.) To quantify this, I considered the front page, the main selling point of this magazine in shops and online, to be representative of the main stories and headlines contained within each edition. I looked at every cover of this magazine published between November 2003 and May-June 2017 (83 editions in all). A remarkable 11% of these editions had as the main front cover feature Stonehenge. On seven occasions, Stonehenge was the cover feature two editions in a row.

In the same period, only one other Neolithic site was afforded cover story prominence (0.13%), and this was the Ness of Brodgar, Orkney, the other dominant pole of British Neolithic studies.

Internal content shows an even stronger bias towards Stonehenge, with at least 29% of the issues containing an article about Stonehenge. A few stories were about Durrington Walls which is gradually adopting the role of ‘the place where the Stonehenge builders lived’ in the literature. For this dataset, I only focused on articles mentioned on the front cover of the magazine, and it is likely this underplays the true level of Stonehenge content. News stories about Stonehenge are commonplace and are not included in these figures. Only five other British Neolithic sites were mentioned on the front cover of any of these 83 magazines, and three of these are in Wessex (Avebury, Silbury Hill, Dorset excavations the name of which currently escapes me….).

I am not being critical of the editor across this period, Mike Pitts. He clearly knows his audience! And I have not looked at this for a few years so the balance may well have shifted.

Stonehenge ubiquity is therefore reflected in archaeology the discipline, and academic and popular publications. And it seems a vast array of other walks of life.

Did you know, for instance, that there are over 80 replica and fake Stonehenges around the world today, lovingly documented by the wonderful Clonehenge blog.

This is where #StonehengeAnything comes in.

I analysed 319 tweets that used the hashtag #StonehengeAnything or replied to a thread prompted by my initial tweet, over the period of 72 hours from evening of 15th to 18th November 2019. I may have missed some, and this data does not include some random latecomers to the party since that period so apologies if your bizarre suggestion is not reflected here.

Stonehenge Ice Cream (image: Whitby Morrison, tweeted by @DSAArchaeology)

I divided the Anything part of equation (Stonehenge being the recurrent ‘anchor’ word) into a series of rather arbitrary categories, with ‘Other’ capturing a miscellaneous assortment of things. So for instance Stonehenge Underpants was filed under clothing, Stonehenge Monty Python under popular culture. In some cases I had to guess what the tweeter had initially searched under. In other cases, searches produced unpredictable results eg Stonehenge Pineapple brought up Liver Salt tablets. Stonehenge Idiot produced a fabricated picture of Nigel Farage with Stonehenge behind him. (Hang on, is that really that unpredictable?)

In other words, this is dirty data.

#StonehengeAnything results over a 72 hour period, n = 319

The most popular connections were food, animals, and then household and garden items. The two most popular individual searches were Stonehenge Breakfast and Stonehenge Cheese. An image of a cat apparently taking a selfie was the individual image I saw most, four times.

Stonehenge Cat (source: a pinterest board about cats, tweeted multiple times)

As Chris Tilley found, combining an over-familiar archaeological word with a random noun is surprisingly powerful. The Bodily Matters category especially so in a sort of David Cronenberg way.

Stonehenge Nipple

Stonehenge Feet

Stonehenge Tampons

Stonehenge Penis

Stonehenge Hair

Stonehenge Fingernails

Stonehenge Dildo

Stonehenge Skull

Stonehenge Germs

Stonehenge Sex

Stonehenge Teeth

Stonehenge Teeth (source: Freaking News)

There was a focus on horror themes and professions which overlapped to an extent. Is a vampire a profession? What about a pirate? Astronaut is more cut and dry. Thus are the pitfalls of classification.

Stonehenge Astronaut (patch for sale on Amazon, tweeted by @wildgem23)

There were a range of #StonehengeWhacks, combinations so obscure that no-one anywhere in the world had thought to create or fabricate an image to fit this bill. Examples included Swingball, Finch, Vaccine, Turtle, Circus, Aardwark, Parrot, Rockabilly, Radiator, Japan, Wallaby, Covfefe, Pigeon, Narwhal and – surprisingly – Gorilla. (Stonehenge Monkey did work.) I am sure there are many more examples, and on balance I would imagine that searches that did not work were less likely to be tweeted than ones that did work. I failed with Stonehenge Two Ronnies for instance. But even as I write, someone might be messing about with a picture of a tapir at Stonehenge.

I think however that #StonehengeAnything works about 95% of the time.

One curious footnote to this searching frenzy was the identification of a series of weird cartoons, all of which are stock images for sale, using the same Stonehenge background. These are produced by VectorToons, all sell for 20 dollars a pop minus the watermark, and feature a foreground element and eccentric caption. I assume these are generated by a bot.

“A Vampire Standing Confidently And In Content and Stonehenge Background” (c) VectorToons

The example above, one option which is found searching for Stonehenge Vampire, includes some additional detail. Cartoon image of an immortal man, with graying hair, wearing a black coattail tux with pointed collar, red bow tie, white shirt and socks, black shoes, oversized head with pointed nose, ears and red eyes looking onto his right, lips sealed in a smirk showing his fangs.

Stan Sagrott @archaeostef tweeted that there are 102 pages of these, and with 32 per page, this means that there are something like 3264 variants on this! I have not had time to crunch the numbers on this but a lot of them are animals, often in anthropomorphic situations (eg a cat using a laptop in front of Stonehenge).

A man dressed as a pirate for Halloween (c) VectorToons

This one is confusing because it is not even a pirate, it is someone dressed as a pirate. Stonehenge Fancy Dress? Stonehenge Accountant letting his hair down?

“A Regular Cockroach and Stonehenge Background” (c) VectorToons

The rather simple and elegant description for this one is: A regular cockroach with brown outer wings, six legs, and two antennae.

Each of these cartoons has the same Stonehenge information: A mysterious landmark in England, made of large boulders of rocks forming a circle, on a green grassy area. I’ve read worse descriptions.

Talking of Cock-Roaches, one of my favourites was #Stonehenge Ken Barlow, submitted for consideration by @vopiscus_bm.

Bill Roach (middle, multiple sources of this image online)

Finally, it is worth noting how complicit English Heritage are in all of this. A lot of the results eg Stonehenge jumper, Stonehenge Ginger Wine, were merchandise that they market and sell. There are literally hundreds of products with a Stonehenge angle in their online shop, up to a piece of jewellery costing £1250.

Stonehenge Wooden Spoon, £6 (English Heritage)

As Aaron Watson preciently wrote in 2004, the word HengeTM had become in archaeology, through over-use, a brand. And so it is for StonehengeTM: the brand.

Stonehenge can be lots of silly things. Why this is the case is not easy to work out. There is of course something iconic about this monument? Where else has pictorial images with the Rolling Stones, God, Alice Roberts, St Patrick and Zombies. What other stone circle has been drawn by Vic Reeves? Which other monument was one of the stars of This is Spinal Tap?

But Stonehenge can be serious things as well. A World Heritage Site. A symbol. A synedoche. A metaphor. A noun, a verb, an adjective. It is a period of time, it is a cultural tradition. It is a phenomenon.

But does it also represent a narrowness of focus, a constraint on our imagination, a failure of archaeologists to lead us all beyond the shadow of an enormous, grey, looming trilithon?

Tilley concluded his essay by writing, Is it useful for us now to start to cross the word out in our texts, in a classic Derridean move, and accept that megaliths do not exist, while realising they will almost certainly continue to do so?

For megalith, replace Stonehenge.

#StonehengeAnything

Sources and acknowledgements: thanks to everyone who tweeted, retweeted and joined in the fun.

In this post I have referred to a couple of essays:

Tilley, C 1999 Frozen metaphor: megaliths in text. From Metaphor and Material culture (Oxford: Blackwell), pages 82-101

Watson, A 2004 Monuments that made the world: performing the henge. From Rosamund Cleal and Josh Pollard’s edited volume Monuments and material culture (Hobnob Press), pages 83-97.

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Faifley Rocks WH19

This is a summary account of the excavations at Whitehill 3, 4 and 5 rock art panels between 13th and 19th August 2019. This report was written with co-director, Yvonne Robertson. This is a brief and provisional account, with a more detailed publication to follow in the future.

Zines inspired by the excavations, created by University of Glasgow archaeology students

Faifley Rocks! is a project researching prehistoric rock art sites to the north of Faifley, Clydebank, West (and as it turns out East) Dunbartonshire, using excavation, survey, oral history and archival research. The largest rock art site in the area, the Cochno Stone, has received the most attention, but sits within a small group of c 16 rock art panels. Some of these sites were identified in the late nineteenth century, others through more recent fieldwork, but no comprehensive work has been done on any of these sites since Ronald Morris’s fieldwork in the 1960s and 1970s (reported on in Morris 1981).

This was the second excavation as part of the project, following work at Auchnacraig in June 2019. The summary report of this excavation includes some more background on the project which need not be repeated here.

Whitehill 2019 excavations

In August 2019, excavation took place around three of the rock art sites in the area, sites known as Whitehill 3, 4 and 5 in Scotland’s Rock Art Project (ScRAP) database. These outcrops are situated within a small area of woodland amidst arable fields immediately to the northeast of Whitehill Farm and north of Law Farm on a prominent landscape position with extensive views to the south. The outcrops are sedimentary, being gritstone or sandstone. They are located around NS 5138 7403 and are listed in canmore. These are just inside East Dunbartonshire and hence not quite on the map below right!

Red circle = Whitehill 3-5 location. Green circles = Whitehill 1-2 and 7 locations

Two of these sites were first recorded in the 1960s by Morris unlike the Auchnacraig sites which were first documented in the late nineteenth century. Morris documented these in his 1981 book The prehistoric rock-art of southern Scotland (except Argyll and Galloway). The numbering system he used is slightly different to the system adopted here; we are adopting the ScRAP nomenclature.

Whitehill 3 is the most extensive of the panels and located on the edge of an escarpment. Morris called this site Whitehill 5. It was initially briefly documented in the Morris and Bailey gazetteer (1967, 161) as a hilltop or break of slope location decorated with 25 cups and a few cups-with-rings. This is reflected in a sketch that is within his archive at HES (see below).

In 1971, Morris uncovered an area some 10m by 10m (although his plan suggests a smaller area was looked at) and found more symbols. He recorded, ‘5 cups-and-two-rings, at least 21 cups-and-one-ring, and at least 40 cups. Radial grooves were noted in some instances, and dumb-bell shapes identified’ (1981, 130).

Sketch in Morris archive from 1960s showing the area of this rock that is typically visible (Image sourced by Denise Telford)

Morris’s drawing of Whitehill 3, published in 1981, based on a more energetic clearing of vegetation from the outcrop during a visit in 1971

 Morris photo of Whitehill 3 presumably during the 1960s visit (Photo sourced by Denise Telford)

In March 2019, these panels were subject to detailed recording and photogrammetry as part of SCRAP. RTI survey of Whitehill 3 was also undertaken by a team from Glasgow School of Art. The SCRAP record for this site notes that 22 cupmarks, 13 cup-and-ring variants and 7 grooves were recorded; the latter are distinctive oblong cupmarks that the record sheet calls ‘courgettes’. An enigmatic graffiti symbol was also noted; this had been pointed out to me on previous visits. Connections between symbols and ‘fissures’ were noted.

3D scan of Whitehill 3 (c) HES / ScRAP

Setting up for RTI recording of Whitehill 3 in March 2019 (photo: Alison Douglas)

Another part of the Whitehill 3 panel usually covered by vegetation, on a visit in 2018 with Stevie Cafferty

During the SCRAP and Glasgow School of Art surveys, the site now called Whitehill 4 was discovered c20m to the south. This is described in the SCRAP Project database as a ‘domed sandstone outcrop’ that has four cupmarks, one of them dubious. Morris noted additional cupmarks at Whitehill but did not formally document them; this is probably one he spotted and referenced (1981, 133).

Whitehill 4 photographed after recording in March 2019

3D scan of Whitehill 4 (c) HES / ScRAP

The third panel in this location, 25m south of Whitehill 3, is known as Whitehill 5 in the SCRAP database. The survey in March 2019 identified seven cupmarks on this stone, which was entirely covered in turf at the time.

Whitehill 5 during recording in March 2019 (photo: Alison Douglas)

3d model of Whitehill 5 (c) HES / ScRAP project

It is not clear if this is the same as Whitehill 6, a site was first recorded by Morris during the visit to the location in 1971 already noted above, having been found by a JM Stables (Morris 1971; 1981). Morris noted that the rock was carved with a ‘much-weathered cup-and-two-complete-rings, slightly oval’ (1981, 133) and suggested it was 55m south of SCRAP Whitehill 3. This site appears similar in Morris’s Plates 123 and 125 (see images below) but the presence of a clear cup-and-ring mark, and its location info, suggests this is a different panel.

Objectives: August 13-19^th 2019 excavation

The specific research questions for the excavation of these three panels were:

• Do carvings extend beyond the currently exposed outcrop?
• What evidence is there for activity in prehistory, and in the twentieth century?
• How do the panels physically and spatially relate to one another?
• Are there any other carved stones in the vicinity? Morris noted others that are not accounted for in the SCRAP survey eg Morris’s Whitehill 6 and 7.
• Is there additional historic graffiti on the rock art at Whitehill?
• What is the significance of the location of these sites eg in relation to views and other rock art such as Law Farm sites and SCRAP Whitehill 1-2?

Methodology

The excavation was conducted between the 13^th and 19^th August 2019 by Glasgow University staff and students, and local volunteers. Upon arrival, the area was subject to a visual inspection to ascertain the condition of the outcrops containing rock art and any further possible features and archaeological remains.

Essentially we ended up clearing vegetation from the outcrops rather than excavating the surrounding area due to the extensive nature of the bedrock.

Three ‘trenches’ were laid out focusing on the exposed outcrops at Whitehill 3, 4 and 5. Seven small test pits were also excavated (all but one measuring 1m by 1m) which were positioned in the surrounding woodland targeting areas of archaeological potential both on the ridge and in the valley below. The trenches and test pits were all hand dug, with contexts and rock art being recorded in plan and section, as appropriate, by measured drawing, digital photography, and written descriptions on pro forma sheets. Photogrammetry was also conducted on all three exposed rock art outcrops. After excavation and recording the excavated material was replaced and the turf reinstated.

Sketch map showing the locations of the three trenches and test pits 1-7. Base map is OS 1st edition.

Results

Trench W3

Trench W3 aimed to investigate the largest of the three known Whitehill rock art sites, Whitehill 3, where a number of cup marks were already visible on an exposed outcrop of bedrock.

A trench measuring 5.0 m by 5.0 m was opened over the exposed outcrop and the flat top to the west and north covered with a shallow layer of turf and topsoil. An extension measuring 2.5m by 1.0m was opened to the west of the trench as well as an extension to the north-east measuring approximately 2.5 m by 2.0 m in order to investigate a wider area for potential rock art symbols. Turf was also cleared off the steep slope of the outcrop to the east in order to investigate the potential for further symbols.

Where present, the topsoil comprised a shallow layer (0.15m) of loose medium to dark brown silt loam (context number 301/303) which contained modern glass, plastic and metal as well as a small quartz pebble (Find 1) recovered from a crack in the bedrock. The topsoil directly overlay the natural bedrock (300) in the majority of the trench although pockets of a medium orange brown silt clay with infrequent small pebble inclusions (302) and a medium dark grey silt clay with frequent angular stone inclusions measuring 0.05-0.10 m (304) were recorded in pockets across the trench within natural fissures in the bedrock. This material was relatively sterile and was interpreted as natural hill wash. Disturbance caused by tree roots was apparent throughout deposits across the trench.

Bedrock (300) was encountered across the entire trench. The bedrock was a large flat-topped sedimentary outcrop which sloped steeply downwards to the east and gently sloped to the north, west and south.  Up to 65 carved symbols, including c. 33 cupmarks, 16 cup-and-ring marks, six cup-and-ring marks with double rings, eight oval/elongated cupmarks or grooves and at least two radials, were recorded within the trench, largely concentrated on the flat top of the outcrop (see photos). The symbols were of varying size, depth and quality, and dispersed in no clear pattern across the outcrop, and some had clearly been weathered as a result of having been exposed.  Large natural cracks where the bedrock had fragmented in parts were visible across the surface in a north-east to south-west orientation and these areas were devoid of markings. A graffiti symbol was also recorded on the bedrock (300) where the rock had previously been exposed; the meaning of this symbol remains unknown.

Graffiti on Whitehill 3. This might be upside down! 10p for scale.

Trench W4

Trench W4 measured 4.0 m by 3.0 m and was centred on a bedrock outcrop to the south-west of Whitehill 3 known as Whitehill 4. Prior to excavation, four cupmarks were visible on the bedrock outcrop and the trench aimed to investigate whether further symbols were present as well as whether any further archaeological features were present in the area surrounding the outcrop.

The trench was largely covered by topsoil (401) comprising a friable dark black brown clay loam with occasional angular stone inclusions (measuring 0.05 – 0.20m) as well as rare charcoal flecks. Modern glass and plastic as well as a post-medieval or modern ceramic fragment (SF 2) were present within the topsoil. The topsoil directly overlay bedrock (400) in the centre of the trench, however, an underlying clay silt wash comprising dark brown clay silt with occasional angular stones and frequent charcoal (402) was recorded in pockets of the trench within undulations in the bedrock (400).

Whitehill 4 after initial cleaning. Greasy silty dark brown (402) in patches visible across the trench, these presumably washed into cracks in the rock.

This deposit also overlay what initially appeared to be a rubble stone wall comprising angular stones (measuring 0.08m – 0.30m) in the north-west corner of the trench. Further rubble material was encountered to the immediate east of this within a large sub-rectangular depression (404). Fragmented bedrock as well as other fragmented stone within a grey silt wash matrix similar to (402) filled the depression and may have been a leveling deposit within a natural hollow, purposefully placed for a platform or trackway or naturally occurring.

Mid-excavation view of possible leveling deposit from the west

To the south of the Whitehill 4 outcrop, a clean light grey sand was recorded below (402). The material was sterile and appeared to have been a naturally washed in deposit directly overlying the bedrock.

No further symbols were observed on the bedrock (400) nor were any further archaeological features recorded in the surrounding deposits.

Trench W5

Downslope and to the south of Whitehill 4, a trench measuring 2.0 m by 0.5 m with a roughly rectangular extension to the south-east measuring 2.5 m by 2.5 m was excavated. The trench focused on an outcrop recorded as Whitehill 5, previously exposed by SCRAP, where three cupmarks were visible on the exposed outcrop prior to the removal of any material. Topsoil (501) was found to extend across the rest of the trench and comprised a friable medium orange brown silt loam with extensive root disturbance and organic material and generally had a depth of 0.10m. The topsoil directly overlay bedrock in much of the trench although a silt clay wash deposit (502) formed a subsoil between the topsoil (501) and the bedrock (500) in the east of the trench. This material was largely sterile and there was clear root disturbance.

Trench W5 during planning

Cupmarks on Whitehill 5 (the only previously recorded ones are those immediately next to scale and N arrow)

In addition to the cluster of three previously recorded cupmarks associated with Whitehill 5, a further seven possible cupmarks were observed approximately 1.5 m east on the same bedrock outcrop (500) (Plate 7). These were recorded to the east of a large sub-circular area of conglomerate within the bedrock (500). No further features were encountered within the trench and no small finds were recovered.

Test-pits

Seven test pits were opened in all, all bar one measuring 1m by 1m. The location of these is shown in the general site plan above.

Test Pit 1

Test Pit 1 was located at the most northerly point of the ridge on which Whitehill 3, 4 and 5 were situated, c. 45 m north of Trench W3. The test pit targeted this area as it was the highest point on the ridge and found to be relatively level with views of the landscape extending south-east towards the Clyde Valley and to the north-west towards the Kilpatrick Hills. The test pit measured 1.0 m by 1.0 m and was excavated to a maximum depth of 0.30 m.

Topsoil extended across the entire test pit and comprised a friable dark black brown silty loam with occasional angular stone inclusions (0.02m – 0.08m in size) (1001). The topsoil was rich in organic material with some root disturbance. Frequent glass was encountered within the deposit. Beneath the topsoil, medium orange brown clay silt with occasional stone inclusions (1002) was recorded which extended to a maximum depth of 0.20m. This overlay the bedrock (1000) which had an undulating surface within the test pit and sloped downwards from west to east.

No symbols or archaeological features were observed in Test Pit 1, nor were any artefacts recovered.

Test Pit 2

Test Pit 2 was located c. 24 m to the north-west of Trench W3 in a relatively flat area, devoid of turf and simply covered in organic woodland debris. The test pit was placed in this location to determine if there were any archaeological features within this area which could be related to the rock art sites to the south. The test pit measured 1.0 m by 1.0 m and was excavated to a maximum depth of 0.35 m.

A friable medium black brown silt loam with occasional angular stone and rare charcoal inclusions formed the topsoil (2001) within the test pit and continued to a maximum depth of 0.10m. Modern activity in the area had clearly occurred as glass and modern metal cans were observed throughout. A firm medium orange brown sandy silt with frequent small roots and rare small angular stones formed a natural subsoil (2002) beneath the topsoil and this directly overlay the bedrock (2000). The subsoil deposit was relatively sterile, although some charcoals flecks were noted likely as a result of surface burning and root bioturbation.

No significant archaeological finds or features were recorded.

Test Pit 3

Test Pit 3 was situated c. 7 m north-west of Trench W4 in the centre of a shallow sub-circular hollow. The hollow, although appearing natural, was thought to have archaeological potential and the trench was situated within it to investigate whether features may be present within the area. The test pit measured 1.0 m by 1.0 m and was excavated to a maximum depth of 0.20 m.

Eric and Ross working on Test Pit 3

An organic vegetation layer (3000) covered the test pit and overlay topsoil comprising a loose light brown organic loam (3001). Beneath this, a natural subsoil comprising a clay silt wash (3002) was observed which continued to a maximum depth of 0.19m which contained patches of compact orange disintegrated sandstone (3003) and overlay the undulating bedrock (3004) (Plate 8).

There were no traces of significant archaeological remains within the test pit.

Test Pit 4

Test Pit 4 was positioned c. 5m south-west of W3 and targeted a partially exposed outcrop of bedrock. The aim of the test pit was to investigate if further unrecorded rock art symbols were present on smooth outcrops in the immediate area. The test pit measured 1.0 m by 1.0 m with a maximum depth of 0.10m.

A small outcrop of bedrock (4001) was already exposed and only shallow topsoil was found to cover the bedrock in all areas of the test pit. The topsoil comprised friable dark black brown silty loam (4000) and modern glass fragments were observed throughout. There was no evidence for archaeological features within the excavated area and no markings were observed on the bedrock which was found to be undulating.

Test Pit 5

Test Pit 5 was located c. 5m east of W5 at the southern extent of the site. The location was chosen as it appeared to be a flat area with the potential for a bedrock outcrop to be directly beneath the turf topsoil. The test pit measured 1.0 m by 1.0 m and was excavated to a maximum depth of 0.30 m.

The topsoil comprised a shallow loose light brown organic sandy loam (5000) which overlay a very compact light brown sand with frequent angular stones up to 0.25m in size. Beneath this a compact layer of dark brown black sandy silt with some large angular stone inclusions was observed (5002). No significant archaeology was recorded within the test pit.

Test Pit 6

Test Pit 6 was located approximately 22 m west of W4 within a level area in the valley below the ridge. The test pit was excavated to investigate whether there were any features associated with quarrying activity in this area. The test pit measured 1.0 m by 1.0 m and was excavated to a maximum depth of 0.50 m.

The topsoil (6000) comprised a dark red brown silty loam which contained modern glass. This was overlying a light red brown clay sand with angular and rounded stone inclusions of various size (6001). Bedrock was not reached within the test pit. No archaeological finds or features were recorded within the test pit.

Test Pit 7

Test Pit 7 was located c. 21 m west of W3 within a slight hollow on the west edge of the ride. The test pit targeted a supposed flat-topped bedrock outcrop and was also located within this area to investigate the potential for features related to the occupation of the site. The test pit measured 1.50 m by 1.50 m and was excavated to a maximum depth of 0.20m (Plate 9). Peck marks on the flat bedrock surface were identified and probably related to someone trying to get purchase on a tent peg…..

Jean planning Test Pit 7

Probably modern peck marks found within Test Pit 7 on flat bedrock

Photogrammetry

Under the guidance of Megan Kasten, teams of students undertook photogrammetry of the three outcrops, which supplemented work already undertaken by SCRAP. In each case more of the rock was exposed than during this earlier survey, and in two cases (W3 and W5) more symbols were exposed as well. These models are still being worked on and final versions will be added to this post, or linked to, in due course.

Initial render of results of W5 photogrammetry

The complete survey of W5, again at early stage of processing

Discussion 

The excavations at Whitehill have shed further light on three of the known rock art panels at Whitehill. Previously unrecorded symbols were observed and recorded on both Whitehill 3 and Whitehill 5, as parts of the outcrop previously left covered by Morris and SCRAP were exposed, and the areas around the outcrops also investigated.

Whitehill 3 was found to be the largest and uppermost decorated outcrop with a huge number of symbols observed on its flat top and the top of the smooth slope on the eastern side. A wide variety of symbols were recorded with no obvious pattern deciphered. The mixture of type, depth and quality does, however, potentially suggest the rock art was conducted by different people at different times. This is the second most extensive rock art site in the area after the Cochno Stone. The rock art panel known as Whitehill 4 was occupied by four simple cupmarks only while up to 13 single cupmarks were recorded as part of Whitehill 5. There is no evidence as of yet to allow interpretation of the relationship of the individual panels or to either confirm or deny that these cupmarks are contemporary with one another as no datable material was recovered in or around the outcrops.

The symbols on all three panels were limited to areas of smooth bedrock enclosed by glacial striations, with only the best areas for carving having been selected. It was also noted that the symbols were largely limited to the top of the flat-topped outcrops with few symbols on vertical faces. Several other rock outcrops were investigated on the ridge to determine whether other panels were present in the area, however, none were found. The shape and aesthetics of the natural rock surface therefore appear to have played a major role in the selection of the outcrops as well as potentially the design of the carvings, a notion also apparent at Hunterheigh Crag, Northumberland (see Waddington et al 2005).

While the areas around the panels were investigated, few further archaeological features were observed. The only notable feature was observed in Trench W4 focusing on Whitehill 4 where an area of fractured bedrock was found to potentially signify the remains of a wall or leveled area. This feature may be related to prehistoric use of the site, with ‘rubble platforms’ having been found to be contemporary with carvings at Copt Howe (Bradley et al 2019) and also, interestingly, at nearby Auchnacraig 1; however, it could also be a result of later quarrying or landscaping activity in the area. No material was found within the cracks on any of the outcrops despite investigation, based on the results of rock art sites such as Torbhlaren, Argyll and Bute (Jones et al. 2011). The quartz pebble found in W3 was in an area removed from the carvings and more likely ended up there through natural processes.

Later use of the area was noted with the west side of the ridge having visibly been quarried and more recent graffiti observed on Whitehill 3, which was limited to one area of exposed bedrock on Whitehill 3. There is no indication of what this quarry was or when it was in use in nineteenth century maps.

Yvonne!!

Acknowledgements

The excavation was funded by the University of Glasgow archaeology department, as part of the 2019 Cochno Farm Field School. Supervisory support was provided by AOC Archaeology Ltd.

We appreciated the team of helpers who came along and worked on site. Team members (in alphabetical order) were: Zahra Archer, Erin Butler, Samantha Climie, Hayley Drysdale, Todd Ferguson, Adrianna Figacz, Eric Gardner, Alexa Hayes, Joel Karhapaa, Emma Keenan, Caitlin McLeod, Gordon Morrison, Linsey Reid, Nikki Reid, Jean Tumilty, Tom Tumilty, and Ross Wood.

Thanks to the Honours students who worked on the amazing zines shown at the top of this post!

Megan Kasten conducted the photogrammetry of the three outcrops and provided training for students, for which we are grateful. Megan also supplied images for this report.

Equipment was provided by the University of Glasgow. Thanks to Aris Palyvos for organising and transporting tools. We’re also grateful to the staff at Cochno Farm for allowing us to store equipment there.

Finally, we really appreciate the work done at these sites in March 2019 by the SCRAP team, led by Tertia Barnett and Maya Hoole. The 3D models of both rock art panels has been invaluable to this project and images from that project are included in this report. Thanks also to Stuart Jeffrey of the Glasgow School of Art Centre School of Simulation and Visualisation for undertaking an RTI survey of Whitehill 3 in March 2019. Processing work in this image continues at the time of writing but this will be added to the post in time.

Thanks to all those who visited the site especially those who brought cakes (Jeremy Huggett, Ellen Laird) and local knowledge (Stevie Cafferty).

References

British Geological Survey, 2019. Geology of Britain. [Online version]

Bradley, R, Watson, A & Style, P 2019 ‘After the axes? The rock art at Copt Howe, North-west England, and the Neolithic sequence at Great Langdale. Proceedings of the Prehistoric Society, 1-16.

Brophy, K 2015 The Cochno Stone: an archaeological investigation. Phase 1 summary report. Urban Prehistorian blog post.

Brophy, K 2016 Revealing the Cochno Stone: Phase 2 excavation and digital recording summary report. Urban Prehistorian blog post.

Brophy, K 2018 ‘The finest set of cup and ring marks in existence’: the story of the Cochno Stone, West Dunbartonshire. Scottish Archaeological Journal 40, 1-23.

Brophy, K and Douglas, A 2019 Faifley Rocks! Auchnacraig 1 and 3, June 20-27^th 2019 Data Structure Report. Available as an Urban Prehistorian blog post of course!

Historic Environment Scotland, 2019a. Scotland’s Rock Art Project (SCRAP).

Historic Environment Scotland, 2019b. Whitehill: Cup and Ring Marked Rock (Prehistoric). [canmore]

Jones, A, Freedman, D, O’Connor, B & Lamdin-Whymark, H 2011 An animate landscape: rock-art and the prehistory of Kilmartin, Argyll, Scotland. Oxford: Windgather.

Morris, R 1971 Old Kilpatrick, Whitehill, cup-and-ring marked outcrops. Discovery and Excavation in Scotland 1971, 19.

Morris, R W B 1981 The prehistoric rock-art of southern Scotland (except Argyll and Galloway), Oxford: BAR British Series 86.

Morris, R and Bailey, DC 1967 The cup-and-ring marks and similar sculptures of south-western Scotland: a survey. Proceedings of the Society of Antiquaries of Scotland 98, 150-72.

Waddington, Clive, Mazel, Aron & Johnson, Ben. (2005). Excavation of a rock art site at Hunterheugh Crag, Northumberland. Archaeologia Aeliana. 5th Ser. 34. 29-54.