This famous site is one of the better known and oldest sites in the Volcanic Tablelands area. These petroglyphs are believed to date back at least 3,500 years, and some of them could date back around 8,000 years, when the area was first settled.
Today it is partially fenced to deter vandals, and this is unfortunately needed, given the vandalism the site has suffered over the years: shotgun damage as well as graffiti.
Fortunately, most of the petroglyphs survive intact and the site is still well worth a visit.
One potentially noteworthy feature of this site is a suspected atlatl depiction – possibly dating the first petroglyphs at this site back thousands of years more. An atlatl is a spear-throwing device that was last used in North America around 5,000 years ago.
The older petroglyphs in this area are in the Curvilinear style, and in some places they are overlaid by more recent Rectilinear or Representational styles.
The photos below show many, but not all, elements in this site.
This boulder sits a small distance away from the grouping that forms the heart of this petroglyph site. In the upper left corner a design commonly taken to represent an atlatl can be seen. There is also an anthropomorph visible in this photograph.
This overview shows the site from a slightly northwesterly direction. The main portion of the site is on the rocks straight ahead. The boulder containing the suspected atlatl design is out of the picture to the left.
The concentric circle design is very common at both pictograph and petroglyph sites. The rake element is another common element at sites in this region.
Unfortunately, some vandals can only think of one thing when presented with these symbols.
These shield-like designs are also commonly found in the region, as well as in more recent art such as some Ghost Dance movement sites. Note that these designs have a veneer of desert varnish over them, indicating that they are among the oldest elements at this site.
Here, one of the shield / grid-like elements on one of the rocks a small distance from the main site shows the same veneer, and therefore likely great age.
The rock faces shown in both the foreground and the background holds geometric designs. The ones in the background are deeply carved into a well-utilized rock face.
The densely carved “newspaper” rock in the middle of the site displays a crowded jumble of designs as well as a damaged area.
A side view of the same rock shows that the leading edge also bears carvings, and also provides placement context — note the collection of older petroglyphs up on the boulder to its right, as well as the reddish rock behind it that appeared in a prior photograph.
A close up view of the four elements on the rock face to the left of “newspaper” rock shows the care with which the rock face was pecked. This photograph was taken in the late afternoon just before the formation was cast in shadow by the adjoining ridge.
Finally, an overview picture shows the “newspaper” rock in context. More detailed pictures of the surrounding boulders will follow.
Here, elements of various vintages overlay each other. Amongst the Curvilinear shield-like designs, there are also some recognizable Representational images, such as the stylized handprints, the footprint, and the deer.
More shield designs mixed with Rectilinear symbols. Note the grid design atop the boulder on the left of the picture. There is also a bighorn sheep, connected to other elements by pecked lines running along the curves of the boulder. Some of the Curvilinear elements, such as the prominent shield designs on the lower left and center, are artfully nestled within scalloped areas of the boulder.
These two boulders sit just to the right of “newspaper” rock. They are also covered with designs, and the lower one suffers severe erosion. Also note the pecked parallel dots on the rock in the background.
The changing light starts to obscure designs on one rock face and highlights them on another. The nature of the angled surfaces and the carved designs means that at different times of day, different designs are thrown into relief or highlighted in the sun. This may be why the legend of the “water baby” arose and why the designs were believed to be constantly changing.
These designs are pecked out atop a sloping boulder, high above the main site. Here, also, appear to be elements from different time periods. The lighter colored elements have not varnished over noticeably, but some older designs are darker.
Looming over the site, the top of a large boulder shows some petroglyphs.
On this flat rock, a geometric grouping of pecks can be seen.
This close up picture of a Curvilinear shield symbol shows the porous nature of the volcanic rock. The design is lightly revarnished.
With the sun setting, the deep groves etched into the stone to form this design is clearly visible.
On this split boulder, the remains of a faint design is visible: a Rectilinear element on the left, with a long trailing set of lines curving up towards the right of the picture.
This enormous design is etched high above ground on a hard to reach surface. The circular element on the left measures around five feet high. It’s hard to imagine how the artist got up here to create these.
This site is not difficult to access, though it isn’t as widely advertised as some.
The dirt road leading to it is graded, and while it gets a little soft and sandy sometimes, it should be perfectly fine for a passenger car if you don’t mind some washboard here and there, some sandiness around the edges and sometimes in the road, and a lot of dust.
This site has seen many visitors, not all of them mindful of those who will pay a visit after them. Parts of the site is vandalized.
If you do go, be respectful and leave no trace of your visit.