 So, in the north-east, Aegean Sea on the western coast of the island of Lemnos, the Castro-Healy headland delimits the harbour of the capital, Mirina, from the north. The Castro-Volcanic rocks, mostly day sites, have been carved in several sectors on different altitudes resulting into various features which could initially have occupied larger than non-preserved constructed areas. Ongoing research of rock-cut features and rock art on the site has uncovered complex places often involving a maritime bias and including both functional and not obviously functional structures and mobile finds. The study with the kind permission of the Greek archaeological service suggests that diachronic occupation, at least since the Bronze Age till the Hellenistic period, well before the construction of its medieval and post-medieval castle. However, precise dating difficulties occur concerning a number of surface rock-cut features also due to erosion and destruction by man. In this paper we will consider examples from the southern and southeastern areas where medieval and post-medieval evidence is absent or exceptional. On Castro, the natural surroundings, landscape features and topography seem to have influenced if not occasionally even directed human operations. Indeed, in several instances man-made constructions have incorporated rocks or were connected to them. Outcrops and boulders and the ground relief have apparently been exploited because of their physical characteristics, including for everyday practical reasons, but not only. In the first place, awareness of distinct traits of the rocks could be presumed. They would have been determinant for their selection. Rocks would indeed have been significant as natural forms on certain locations. Such shapes were perceived, chosen, exploited and enhanced, possibly with man-made work added. Such an example can be seen on the eastern end of a large rock complex, an impressive landmark orientated east-south-east, west-northwest. A striking head-shaped feature juts out from the rock flank of a carved room, the latter consisting of a large wall, panel or facade, at right angles with a small wall and four niches, as well as a carved floor with a channel. The room is situated in front of the head at a lower level. From the northern side of the facade, a few steps lead to a carved path over it around a platform carved in front of the head. An upper level is accessible by some carved steps and natural tracks from the northern part of the rock. A rectangular cavity is inscribed in a carved angle at its edge on the head. From up here, there is an open view towards the east, the main island and the inner port, not towards the open sea. One and around the eastern half of the large rock complex on its northern flank, numerous are the flights of steps, tracks and stepped ramps with diverse directions, and various angled structures have also been carved. On the western half of the large rock complex, two successive large south-north passageways cross the main rock, and after the second passageway, the western one, stepped ramps and tracks lead from the north towards the summit with intermediate stops, a platform and a rounded enclosure, while there are more steps and the natural slope that permit to approach closer to the top over the hanging rocks. Difficulty is progressing not only because of climbing on an abrupt rock or of the frequent strong winds, or of the fact that only one person may go through at a time, but also because of the need to previously know the itinerary. As a matter of fact, it would also have been easy to prevent access by unauthorized persons. Several interpretations of this scheme are possible, but one has to take account of the following. The orientation towards the setting sun, the visibility of the large rock conspicuous in the landscape, the open view from the upper parts to a considerable distance, including the surrounding hills, the intricate access, tracks and steps on this northern part of the abrupt hill, which are in fact hidden from the sea, the intermediate stops, and the suggestive shape of the hilltop, a bird. Therefore both significant rocks, head and bird shaped, are not easily accessible, there are rock cut structures such as platforms, cavities, niches, on the carved way leading to them and in front of them, and they are aligned to the direction of the setting arising sun. Could then this evidence suggest open air cult attested since Bronze Age, Iron Age, Geometric and Archaic, Greece and later, also in Anatolia and Thrace, as material evidence from all these periods has been in parallel attested in these areas of the castle. In other cases, naturally at the same time man-made structures consist of an impressive natural protrusion projecting horizontally from the castle flank, overhanging the rock in front of it. Few such examples survive now, mostly facing the east, the southeast and the south. One of them shows an impressive rock overhanging a structure with post holes, while there is a façade, many steps, on the side of a carved road. In another case, small ascending steps were carved on both sides of a flattened rock, and niches on the upper front part and on the base of its carved façade, while a natural rock projects over them. At the base of the latter structure, the earliest pottery found till now dates from the Late Bronze Age or early Iron Age. The structure faces the harbor, and is located at crossroads between a thoroughfare and two descending stepped ramps, themselves connected to other ramps and tracks leading lower towards the sea. In connection to the east-south-east, west-northwest orientation of the presented rock-cut features, one should recall the importance since antiquity of the sunset in Lemnos behind Mount Athos, illustrated in a mysterious verse by Sophocles. Athos casts its shadow upon the back of the Lemnian cow. Western adult travelers visiting the castle often commented on its abrupt flanks, the strange shapes of its jagged rocks, describing them as black silhouettes looking like fantastic mythical animals, in particular at sunset. This was really the end of the 19th century. A young British boy aged 10 or 11, impressions after visiting the castle rocks in 1966 AD, may be more explicit. Symbolic behaviors that tested on Castro also include more traditional figural representations and dates from different periods. Pale implements as spools or loomweights and fragmentary female figurines, as since the archaic, at least, to Hellenistic periods, were found in various investigated sectors. Perhaps interestingly, a clay loomweight found on the castle is decorated with the representation of a bovid, not a ram, as elsewhere on the island. The figurines often wear a polos and veil and or are seated on a throne. As a number of days, Artemis erai catti or dimeter, a female presence is obviously related to this rock environment. In particular, taking into account both iconography and the context, which may include crossroads and liquid water management, there are similarities with liminal goddesses of nature, such as Matar, Sibel, Bendis, Ekate, or Artemis. And the harbor can also be qualified as a liminal area. The local goddess also named Lemnos was also a divinity of nature, moreover protecting water. This connection to one or more nature and water divinities is confirmed by a deposit in a demarcated triangular space, delimited by three stones, dating probably from the 8th or 7th century BC. Some of the artifacts found here mostly suggest female spinning activities, such as spools, while one figurine, at least, wears a polos headgear. Animal bones, charcoal, and a surprisingly large quantity of seashells, as well as shirts bearing graffiti, including ship representations, are also contained in this deposit. The spot is accessible from both the north and the south of the main rock via the first passageway, the eastern one. It is located in front and to the left of a flight of steps, a dead end, with an east-south-east west-northwest orientation ascending towards the west and ending at a curved vertical panel with a cavity. The deposit in front of the steps was at the same time located on the passageway from which a bifurcation leads to another cubic carved outcrop. This is then again a crossroads, a triodos, a liminal and dangerous space in antiquity. This is not a unique instance of symbolic behaviors related to crossroads in Castro. Without forgetting the local goddess Lemnos, among the divinities already mentioned in connection to the figurines, Artemis is related to headlands coastal areas and offshore anchorages, as a divinity of mariners, doorways, guardian of ports and itineraries, often associated with a cate, the early goddess of entryways and crossroads par excellence, also connected with crossroads, doorways, boundaries, transitional and liminal places. The arrangement of stepped altars ending in a niche, sometimes with an upper, idol-shaped seat, is well known from Phrygia, associated mostly to iron age cult, yet rock cut monuments have a long prehistory in the ancient Near East, where they date often from the Bronze and Iron Ages. The Anatolian Sibel, often represented carved on rock facades, is occasionally related to step altars and may be connected to entrances, boundaries and liminal areas. Step altars would be empty thrones for the invisible Phrygia divinity, while the Thracian mother goddess was a shaped rock before becoming anthropomorphic, yet both figural and an iconic may coexist. It has been argued that aniconism asserts the limits of anthropomorphism, aniconism has been defined by Millet-Gethman as a demarcation of divine presence without a figural representation. Phrygia uses the term index of divine presence as a marker that indicates to the worshipper that a divine power is present at a particular site, at least potentially. According to Trigwem Mettinger, an iconic cults include material aniconism, an aniconic symbol as standing stones, and empty space aniconism, sacred emptiness as an empty throne, as a metonymy of the divinity's invisible presence. Quoting Laura Marx, art is an iconic when the image shows us that what we do not see is more significant than what we do. Access to rock cut monuments was difficult as it needed climbing steps, winding up mountains, and it combined niches, cavities, grooves, platforms, facades, implying open air ceremonies and ritual activities. In prehistory and antiquity, certain natural spaces and nature incidents could provoke important emotions to men as respect and anxiety, and the usual features of nature whose visibility and accessibility were important may result into the creation of spaces of cults with natural places as a geologically spectacular locations in symbolically charged places. As of when Castro, aniconism is associated with a far more complex or possibly more spiritual experience of vision and perception, the veneration of elements of landscape. So although there certainly still exist open questions, current evidence suggests that the Castro coastal and rocky landscape had been transformed into human space both literal and symbolic, involving ritual practices, open air symbolic processes, figural and aniconic, animated, incarnated or personified images, liminality and maritime connections. The paper endeavored to suggest reading approaches of anthropomorphism as conceived, implied, symbolized and materialized within a mixed natural and transformed scenery.