Surveys and excavations in 1980–1 confirmed Peak Camp as a Neolithic enclosure on a flat promontory of the Cotswold escarpment overlooking the Severn Valley just 1 km south of Crickley Hill. Although heavily eroded by quarrying the site can be reconstructed as having two concentric arcs of boundary earthworks forming an oval plan which was probably open to the north where a steep natural slope defined the edge of the site. A section through the outer boundary showed four main phases of ditch construction, at least one causewayed. An extensive series of radiocarbon dates shows construction began in the late 37th century cal bc and probably continued through successive remodellings into the 33rd century cal bc or beyond. An internal ditch or elongated pit situated in the area between the inner and outer boundary earthworks had a similar history. Where sampled, the ditch and internal feature were rich in material culture, including a substantial assemblage of plain bowl pottery; flint implements and working waste; animal remains dominated by cattle but including also the remains of a cat; human foot bones; slight traces of cereal production; a fragment of a Group VI axe; part of a sandstone disc; and a highly unusual shale arc pendant of continental type. It is suggested that the ditch fills represent selectively redeposited midden material from within the site that started to accumulate in the late 5th or early 4th millennium cal bc. The construction and use of Peak Camp is contemporary with activity on Crickley Hill, and the two sites probably formed components of a single complex. Its use was also contemporary with the deposition of burials at local long barrows in the Cotswold-Severn tradition which are linked by common ceramic traditions and the selective deposition of human body parts.

Topographical and geophysical surveys carried out in August 2002 at three monuments in the Preseli Hills of Pembrokeshire are reported: Bedd Arthur, Gors Fawr and Meini Gwyr. Previously unrecorded features were revealed at all three sites, most spectacularly at Meini Gwyr which, from the evidence of geophysical survey, appears to be a multi-phase monument that includes a double pit-circle, hengi-form monument and embanked enclosure with an internal stone circle. Comparisons are made with plans prepared by Flinders Petrie in 1926, published here for the first time. A viewshed analysis of the surveyed sites and others of similar kind in the area allows an appreciation of landscape setting and intervisibility. It is suggested that the stone circles are sited in relation to upland stone sources. All the monuments considered here are compared with contemporary structures recorded elsewhere in the British Isles. It is concluded that while the stone circles and oval setting fit comfortably within a distribution pattern that extends across most of the British Isles, the later phases of Meini Gwyr at least belong to a more localized tradition of monument building focused on the Irish Sea region.

Reappraisal of an early 20th century excavation at the Cronk yn How round barrow near Ramsey in the Isle of Man suggests that a stone pair was demolished during the 3rd millennium BC to make way for a round barrow with a single central burial. It is suggested that one of the stones from the original pair was decorated with a series of motifs before being incorporated into the barrow. Some of the motifs used find parallels amongst later Neolithic incised rock art on the walls of tombs and houses, and on stone plaques. Other motifs, including what appear to be representations of deer, serve to expand the repertoire of known designs and highlight the potential of this kind of this rather understudied category of rock art. Parallels for the zoomorphic motifs can be found in Scandinavia. A review of other rock art within the Isle of Man revealed more than 70 recorded panels at 55 individual sites making this one of the more densely populated rock art landscapes in the west of Britain. Two main styles are represented, the passage-grave style, which includes the Cronk yn How Stone, and the cup-mark dominated style, or Galician Style. The latter accounts for more than 95% of recorded sites which accords well with what is known of the Isle of Man's cultural relationships during the 4th and 3rd millennia BC.