A broad, slightly-angled shot shows a rocky, heather-covered hillside sloping downwards from right to left, meeting a forested valley that stretches into the distance. In the foreground on the right, a long, light-coloured stone slab lies diagonally across the grassy, brown-gold ground. The stone has been roughly hewn and is of sandstone. Beyond it, the hillside is covered in patches of purple heather and green bracken. In the middle ground, dark green trees form a dense forest in the valley. Further in the distance, the landscape opens up to reveal fields of various shades of green and gold under a light grey, overcast sky. In the far distance, the distintive, cone-shaped hill of Roseberry Topping rises from the flatland, and to its right, another, smaller hill is visible.

The Stone They Left Behind

A rough-cut sandstone block lies abandoned at the top of an old quarry on Ayton Bank. It first appears on the 1915 Ordnance Survey 25-inch map. One wonders what caused the sudden stop—tools downed, the block left where it was, after the time and effort it must have taken to cut it, shape it, and drag it uphill the five metres or so from where it was quarried. Other half-worked stones still lie scattered in the grass.

Stone from these moors was usually sledged downhill, letting gravity do the hauling. Yet the old map shows a track running from the top of the quarry toward Gribdale Gate, which suggests a different plan for stones from this quarry.

What matters most about sandstone is its quality. From the Jurassic beds quarried all across the moors came stone for abbeys and churches, grand houses, railway bridges, civil works, town buildings, village homes, hillside farms and miles and miles of dry-stone walls.

Each quarry had its own traits, but it was the freestone—moor sandstone—that was most sought after. Easy to work when freshly hewn, it hardens when exposed. Always laid in flat, natural beds, it breaks free cleanly, its seams marked by fine layers of clay or silt. Mostly yellow, it turns brown with time and can be stained blue near the surface by heather. Raised in heavy blocks, it cuts readily into wallstones—often nine or ten inches high—which helped fix the local style: ashlar masonry in even, regular courses, seen across the region1Hartley, Marie and Joan Ingilby. “Life and Tradition on The Moorlands of North-East Yorkshire”. Page 96. J.M. Dent & Son. 1990..

This stone left behind is too short for a gatepost and too long for simple walling. More likely, it was being shaped as a lintel—until, for some reason, the work simply stopped.

  • 1
    Hartley, Marie and Joan Ingilby. “Life and Tradition on The Moorlands of North-East Yorkshire”. Page 96. J.M. Dent & Son. 1990.

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