Annexus Quamm

One of the most inaccessible sites away from the estuaries and in the interior of the country (North of Ourense), it was only after our second attempt through dense vegetation that I was finally able to penetrate into its secluded, almost hidden, location, even though it had been on my wish list for years. The name Burnt Oak was given to it because there was a dead oak behind it. Access may be closed as we speak, again (even though that is a given, as the vast majority of Gallaecian rock art sites are quite hard to get to, due to the extremely accidented terrain and dense vegetation in all seasons). The long hour I spent at this stone was timeless, and time became space in the silence of the countryside. The designs also possess that sort of Daliesque beauty to them, and they seem to drop down the rock, languidly.

A rather big piece of quartz was also found behind the site, suggesting (I’d like to think) its possible use as an implement in the past. Time undoubtedly carries on, relentlessly, but certain things never change. And these places have remained unvisited or forgotten for millennia, so the quartz bit could have been half-buried there in the ground (where I got it) for as long as it was since it was used for the last time. It is not the first time that I have found bits of quartz in my expeditions, although they are also commonly found in all other prehistoric sites. In Gallaecian and North Iberian folklore, quartz still has magical properties and can be seen in walls, roofs or fences as a sign of protection against evil, witches or thunderstorms.

The first time I explored the area around the site (a hillock) and could not access this magnificent rock art panel, I discovered a few other great designs further north, higher on a tor, only to find out that about half of them had already been (unofficially) registered by other rock art enthusiasts about a decade before.

Such is the erratic state of archaeological research here due to the obscene carelessness shown by the authorities (only interested when political publicity and Big Cash are involved – see the the open-air museum at Campo Lameiro as an example of this). Elsewhere, most of the other 4,000 Atlantic / Gallaecian-style panels (a lot of which are as gorgeous and mind-blowing as this one) remain unknown, hidden to view, or surrounded by almost impenetrable vegetation or vast areas of modern forestry land which now cover almost all of the country, but which is far more profitable for the short-sighted authorities than the country’s hidden but excellent prehistoric heritage. Many rock art sites receive no light now, making them difficult to be appreciated by potential visitors. And the rural activities of the countryside are a thing of the past now, due to depopulation. In the past, the sheep, the cattle and the wild horses would have kept this area clean.

For the archaeologists, keeping the panels hidden is also better (and cheaper) than exposing them – there are just far too many of them and they might get damaged... or would only be of niche interest to a certain type of British travellers, anyway! It rains so much here, that once an area is cleaned, it takes only a few weeks for it to get covered up again.

The other more obscure reason is that the rock art of Galicia and N. Portugal is also quite distinctive and unique to Atlantic Iberia alone (and the British Isles), thus not appealing to conservative authorities wary of other nationalist, independentist parties which, throughout history, have always been keen to differentiate ‘Celtic’ Galicia from the rest of Iberia (and regard the current statehood within the Spanish country as an ‘occupation’ or ‘colonisation’) – in the same way that the Scots would frown at outsiders calling them English – and that has always created conflict with the pro-Spain parties in the country, which are quite happy not to bring this unique sign of identity or differentiation to the light. And in any case, in common with other parts of the world, these parties are never too interested in the arts, culture or heritage. Too much and too complex for their brains.

Beyond the mountain ranges across the ancient borders of Gallaecia, but still in an area within her cultural influence, the two magnificent altar stones of Filiel are two massive twin stones with 3 Bronze Age labyrinths each (one of which is also full of cups) just below a tor of epic physical (and spiritual) proportions.

Their position in the middle of nowhere makes these two appear like flat altars looking towards the mountain of Telenus (one solstice sunrise with another peak in the same mountain range has already been spotted).

The stones were only discovered little more than a decade or so ago. The mountain Telenus was considered the ancient god of the area, and a later Romano-native dedication to it has been found, also suggesting possible connections to ancient god Teutates.

The freezing winter cold and the feeling of being watched by roaming wolves is not too evident in the video. The walk in the winter dark back to the nearest road felt endless.

Another example of Gallaecian / Atlantic rock art neglected, forgotten and left to its own devices in the wild.

Note the couple of crosses added to the prehistoric panel in the Middle Ages or later (engravings made with metal tools are deeper and lighter than the ancient designs) in a clear attempt to Christianise and keep the heathen, demonic, paganistic forces of the countryside under control. After all, the priests arrived from outside and for centuries, never found it easy to reach every hidden corner of the country, safely protected by mountains and peopled by famously gruff and reclusive folks.

Arriving at a prehistoric rock art site is like trying to have a conversation with the ancients. You will not understand a word, but the sound of the words is entirely musical and adapted to the land and the landscape.

Here I am at one of the most stunning panels in Gallaecian / Atlantic rock art in the mountainous lands of Cotobade on a ledge overlooking the sacred meander of the mighty River Lerez.

This country is extremely windy and rainy, so being able to catch them blessed rock art panels in the right light is quite rare, but it also adds to the sense of excitement and the urgency of living life to the max.