The discovery of this impressive rock is described by Tate (1865): "It was almost entirely covered over with turf till 1855, when it was observed by Mrs Procter, who caused part of it to be cleared; another portion was cleared in the course of this present year, and now an area 16 feet by 8 feet is exposed, covered with figures. The overlying peat which has preserved these singular sculptures, was from a few inches to one foot in depth…Three other groups of figures, curved and irregular forms, are on the scalp of the same rock, but at some distance from each other- Plate VI, figs. 2,3,4. Twenty - four figures are traceable on these stones."
Tate (1865) and Bruce (1869) drew the rock, and it is clear that part of it has been removed since then. The main difference from what we see today is that part of the western motifs have gone.
Another important observation is that there are three levels of the rock surface, and that the main motifs occupy the lowest level, well-preserved by peat and turf, and deeply pecked into the rock. The right corner of the drawing shows that some cups and partial rings have eroded considerably, or were pecked on lightly. A possible explanation for this is that some rock with older motifs was removed, and new motifs put on at a lower level in prehistoric times. Why? This happened at Fowberry Plantation and at Gayles Moor (Richmondshire). The Fowberry example is particularly striking, because a rectangular block has been removed and a motifs with every pick-mark fresh have been placed at the base of the space left, with eroded motifs on the old surface having similar designs of cups and rings. An explanation is that the rock slab with motifs was deliberately removed for incorporation in a monument.
This important, elaborate rock art panel, viewed from the east to appreciate its designs, gives only a limited view of the Milfield Plain, although the Cheviots and scarp edge are in sight. It occupies a place that has all-round views of the landscape.