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The 5 km trail winds along the Brandewyn River and visits 9 sites containing San rock paintings, the indigenous people who inhabited the area for thousands of years. The Sevilla Rock Art Trail offers some of the finest examples of rock art in the district and a fascinating glimpse into the world of these early inhabitants.

The trail is located on a fram known as Travellers Rest which is open to the public.
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An extraordinary scene depicting an attack on a shelter. The defenders are shown inside their shelter and ingeniously a slight concavity has been used for this where the one side projects along its length from the rock, a broad red brush man curving almost at right angles seems to have been their method of showing that this was their shelter or cave. One tall figure holds a bow and arrows fly between them and the attackers. It is difficult to say how many figures there are in the shelter, anything from 5 to 7, the front one on its arms and knees stretched out.
The attackers number 6, one a bowman, an upright chap hurling a spear, and a lower figure also it seems with a spear. The rear figure strikes not an unusual posture, but his white headdress is quite unusual. White is used with these figures.
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The Western Cape of South Africa has been inhabited by humans and their ancestors for at least a million years.

Earlier Stone Age artefacts date to between about 2 million and 200,000 years ago. These hunter-gatherers apparently did not make rock paintings.

Middle Stone Age artefacts have also been found but they are not directly linked to the artists responsible for rock paintings in the region.

From about 40,000 years ago, the Later Stone Age people living in the Western Cape were regularly making artefacts like bows and arrows, digging stick weights, ostrich eggshell beads and other items that were still being made by San hunter-gatherers at the time of European contact in the seventeenth century (1600’s).

It was during the Later Stone Age that most of the rock paintings were made in the Western Cape.

Rock paintings can be dated if the paint had an organic ingredient like blood or egg or plant juice, but in many cases there is not enough of these ingredients left to get a reliable age. Detailed study of the paintings over the past century has nevertheless allowed for a general sequence to be identified based on which images were painted first (the fine line humans and animals by the San) and which were painted later (the handprints and finger paintings by the Khoe), followed by colonial images of people with horses, guns and hats.

Fine line paintings are generally associated with Later Stone Age San hunter-gatherers. The oldest dated fine line images in the Western Cape are at least 3500 years old and older paintings may not have survived, or have not been found in a datable context.

For many years it was thought that the paintings were literal depictions of the landscape in which hunter-gatherers lived. It is now known that the art is more complex than this and that it was produced within a number of important ritual contexts, such as healing, rain-making and the initiation of boys and girls into adulthood. The art therefore is religious and relates to complex beliefs and practices.

Rock paintings are the work of the ancestors of San hunter-gatherers, Khoe pastoralists and people of the recent colonial period. This art includes a wide range of images, types, motifs and themes. This diversity can be reduced to a few broad rock art groups or traditions. In chronological order, these are referred to as:

• Fine line images
• A range of finger-painted images including dots and lines as well as various types of handprints
• Images of colonial people, wagons and horses
• Historical graffiti

Fine Line Images
Fine-line images are the oldest images generally identified as they lie beneath later images. The remnants of images of eland are also included in this category of rock art. The eland are sometimes difficult to identify as only the red or yellow ochre remains of what was originally a multi-coloured image with white and black highlights and shading. The white and black pigments tend to wear away more quickly than the red and yellow ochre pigments which is why all that is left of the eland are blobs of colour.

Depictions of Animals
In addition to the eland, other antelope as well as some indeterminate other animals can be found. Images of other animals are also known, such as fish, elephants and others. Images of fat-tailed sheep assist in dating rock art sites as this species is known to have arrived in this part of South Africa approximately 2000 years ago.

Handprints
Handprints are also often found at rock art sites in the Cederberg. These prints were made by covering the hand with ochre pigment and then using a fingernail or stick to carve patterns in the ochre before placing the hand on the surface of the cave wall to leave a print. It is hypothesised that, due to their general size, these prints belong to sub-adults, ie. young boys and girls who have left their mark as, possibly, part of a coming of age ceremony.

In addition, you may also find many finger dots, indeterminate blobs of colour, wavy lines, circles and patterns of lines and dots.

Hookheads
Many of the human figures along the trail have characteristic "hook heads". This is not fanciful art; the red ochre has lasted longer than the pale colour that once filled in their faces. This "faded" phenomenon can also be seen in animals, leaving the false impression that they were incomplete.

Paint
The original paint was made of organic materials including red and yellow ochre and very old dassie poo (it becomes a gooey black tar-like substance). But it is prone to lichen growing on it - this is likely to eventually destroy all paintings so affected.

Therianthropes
Therianthropes are representations of people with animal features who are experiencing trance. These features include hoofs, antelope heads, and tusks and so on. Moreover, human beings are also depicted combined with a range of creatures such as elephants, baboons, antelopes and birds.

Trance Dance
The trance dance is the San's most important religious ritual, and an understanding of its various features and purposes is an essential key to appreciate the art. For the San, trance is the spirit world; it is here that they heal the sick, remonstrate with malevolent spirits, and go on out-of-body journeys. The southern San also believed that shamans could make rain and guide antelope herds into the hunters' ambush. Moreover, the San saw parallels between the behaviour of a dying antelope, especially an eland, and a shaman ‘dying' (dying is used in a metaphorical sense, meaning to enter the spirit world) in trance.

Equipment and dress
In San rock art, human figures carry a variety of equipment, such as arrows, bags, bows, quivers and digging sticks.
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The paintings of people at this site have some interesting details. The main panel is a procession of dancing women, some holding sticks, moving to the right. Women played an important role in leading initiation rituals and singing during trance healing dances. A second, smaller and more faded group of dancers is painted alongside and is possibly earlier than the larger one. Above them is a third faded group of people of indeterminate gender with bags on their backs. To their right, a fourth group of tall, thin people painted in red is accompanied by a striking hook head person in black who is probably a man with hair hanging down at the back of the neck. Individuals like this one probably represent ritual specialists, sometimes called shamans.

Look closely at the more rounded head to the right that has been enlarged in the photographs. The face is carefully painted with cross-hatched lines in red and with small patches of yellow infill . Preserved facial details like this are very rare in the “hook head” paintings of the Cederberg due to the more common use of white paint and yellow ochres on human faces. White paint in particular does not preserve as well as red ochre and when it fades only the red or black hook around the head is left behind. The facial details of this head, which seems to have no body, lack eyes, nose and mouth, which is another clue that the paintings hold symbolic meaning and are not simply illustrations of daily life. On the left hand side of the shelter is a well-preserved image of a bowman carrying a bag on his back.
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There are some strikingly clear images at this site, including the famous archer with his bow drawn that has been used on the cover of Peter Slingsby’s guide to the Sevilla Trail. There is a second bowman nearby and several other people are visible, some with faded karosses and only their legs evident. The karossed figures carry bags with tassels. One person, above and to the right of the bowman, appears to be falling over backwards, a posture associated with one of the stages of trance healing. The bowman is not shooting at a meal for the family as there are no animals to be seen. Instead, a person appears to be running away from him. As one of the functions of trance healers is to mediate conflict amongst members of a group, the trance motif might be a significant part of this scene.

This site is also well known for the charming painting of a new-born equid foal, probably a zebra. A number of eland and other animals are present on the ceiling with a particularly well preserved bichrome eland with horns and white legs visible. Several other white painted legs outline where eland were previously visible. To the left of the foal is a swarm of small red dots that might represent bees as honey was used for healing. Higher up is a small group with two children led by women, and to their right is a small cluster of people. Their postures do not indicate trance dancing but the group could be a reference to the role of women and children in gathering staple plant foods. On the far right is an unusual painting of an antelope that is outlined in black but the body has not been filled in with paint.
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This site has a number of paintings spread across the back wall of a large overhanging shelter which has two main areas containing paintings, separated by a large boulder that you have to navigate over. The scale chosen for many of the paintings is much larger than at other sites along the trail. To the left are two prominent hook-headed people facing left and carrying bags, quivers and bows. The red paint used for their legs, heads and equipment is still very well preserved. The red outline of their karosses is still clear but the paint infill, which was presumably white, has disappeared completely. The figures are therefore described as “kaross-absent” since only the negative outline of the karosses remains. A small superimposed person with a rounded torso, facing right, has been carefully painted over the bag of the person on the left, and also probably wears a kaross but is depicted in crouched position with legs dangling. To the right of the two large kaross-absent people are two or three eland torsos. The legs, necks and heads that were painted in white have mostly disappeared.

Other faded and less well-preserved paintings off to the far left of the shelter in 7b show seated people and a ritual procession of men or women carrying sticks. The procession has been carefully painted around a natural depression in the rock surface.

There are a number of eland depicted with only their torsos remaining visible and on the far right of the shelter and on the other side of the boulder, are two large elephant paintings in yellow. A few more people in red paint are shown further to the right of these elephants.
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This site has a number of paintings spread across the back wall of a large overhanging shelter which has two main areas containing paintings, separated by a large boulder that you have to navigate over. The scale chosen for many of the paintings is much larger than at other sites along the trail. To the left are two prominent hook-headed people facing left and carrying bags, quivers and bows. The red paint used for their legs, heads and equipment is still very well preserved. The red outline of their karosses is still clear but the paint infill, which was presumably white, has disappeared completely. The figures are therefore described as “kaross-absent” since only the negative outline of the karosses remains. A small superimposed person with a rounded torso, facing right, has been carefully painted over the bag of the person on the left, and also probably wears a kaross but is depicted in crouched position with legs dangling. To the right of the two large kaross-absent people are two or three eland torsos. The legs, necks and heads that were painted in white have mostly disappeared.

Other faded and less well-preserved paintings off to the far left of the shelter in 7b show seated people and a ritual procession of men or women carrying sticks. The procession has been carefully painted around a natural depression in the rock surface.

There are a number of eland depicted with only their torsos remaining visible and on the far right of the shelter and on the other side of the boulder, are two large elephant paintings in yellow. A few more people in red paint are shown further to the right of these elephants.
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Upon arriving at this site you will immediately notice the large fallen slabs of rock that collapsed from the roof of the overhang in the early 1980s, but provided a much larger shelter in the past. A large number of paintings are found here and the shelter has a wide view of the kloof opposite the Brandewyn River.

There are paintings on the left of plain hand prints, similar to those at Site # 8. There is also a painting of a person with a hook head wearing a yellow kaross, with a bag on his or her back, and holding a short stick or possibly a small snake. The same yellow kaross is shown on the photographs to the right, but in this instance the yellow face has been preserved and both legs are painted in red. The person is carrying a bow so is probably a man. He also has a bag on his back. The kaross painted here is a good example where we are lucky enough to see the yellow ochre preserved as opposed to the many paintings where the infilled paint for the kaross is “absent”.

Low down and to the right is a long procession of equids (probably zebras) with hartebeest and the red torsos of eland. The intentional use of processions and conflations of animal and human attributes seen at the previous sites gives us insights into what the painters were conveying about the intertwined relationship between people and the animals that held symbolic significance to them. Look closely, for example, at the array of human figures that are over-painted by the equids - this is not a realistic scene at all and shows how the motifs were re-arranged and interchanged in different scenes from site to site to indicate the meaning and power of the metaphors that they represent.

Two women facing right are shown towards the upper section of the surface and are very well preserved. They have well developed hips and legs and slender and elongated upper bodies. This is partly convention because we know from depictions at many other sites that women are often painted this way, while men are shown associated with hunting equipment and have more slender lower torsos. However, the elongation of the bodies is also associated with trance and the women appear to be dancing with arms outstretched as they would in a trance healing dance.

Below the two women is another procession of people facing left. They are carrying equipment seen at the previous sites (bags, quivers) and are wearing karosses. A taller person facing right that is not wearing a kaross appears to be superimposed by the procession of kaross-wearing people and is painted in a similar size and form to people found further to the right in dark maroon. The thin dark lines above and between some of the people are unfortunately remnants of illegal graffiti and it has not been possible to remove them without damaging the paintings.
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Upon arriving at this site you will immediately notice the large fallen slabs of rock that collapsed from the roof of the overhang in the early 1980s, but provided a much larger shelter in the past. A large number of paintings are found here and the shelter has a wide view of the kloof opposite the Brandewyn River.

There are paintings on the left of plain hand prints, similar to those at Site # 8. There is also a painting of a person with a hook head wearing a yellow kaross, with a bag on his or her back, and holding a short stick or possibly a small snake. The same yellow kaross is shown on the photographs to the right, but in this instance the yellow face has been preserved and both legs are painted in red. The person is carrying a bow so is probably a man. He also has a bag on his back. The kaross painted here is a good example where we are lucky enough to see the yellow ochre preserved as opposed to the many paintings where the infilled paint for the kaross is “absent”.

Low down and to the right is a long procession of equids (probably zebras) with hartebeest and the red torsos of eland. The intentional use of processions and conflations of animal and human attributes seen at the previous sites gives us insights into what the painters were conveying about the intertwined relationship between people and the animals that held symbolic significance to them. Look closely, for example, at the array of human figures that are over-painted by the equids - this is not a realistic scene at all and shows how the motifs were re-arranged and interchanged in different scenes from site to site to indicate the meaning and power of the metaphors that they represent.

Two women facing right are shown towards the upper section of the surface and are very well preserved. They have well developed hips and legs and slender and elongated upper bodies. This is partly convention because we know from depictions at many other sites that women are often painted this way, while men are shown associated with hunting equipment and have more slender lower torsos. However, the elongation of the bodies is also associated with trance and the women appear to be dancing with arms outstretched as they would in a trance healing dance.

Below the two women is another procession of people facing left. They are carrying equipment seen at the previous sites (bags, quivers) and are wearing karosses. A taller person facing right that is not wearing a kaross appears to be superimposed by the procession of kaross-wearing people and is painted in a similar size and form to people found further to the right in dark maroon. The thin dark lines above and between some of the people are unfortunately remnants of illegal graffiti and it has not been possible to remove them without damaging the paintings.
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Upon arriving at this site you will immediately notice the large fallen slabs of rock that collapsed from the roof of the overhang in the early 1980s, but provided a much larger shelter in the past. A large number of paintings are found here and the shelter has a wide view of the kloof opposite the Brandewyn River.

There are paintings on the left of plain hand prints, similar to those at Site # 8. There is also a painting of a person with a hook head wearing a yellow kaross, with a bag on his or her back, and holding a short stick or possibly a small snake. The same yellow kaross is shown on the photographs to the right, but in this instance the yellow face has been preserved and both legs are painted in red. The person is carrying a bow so is probably a man. He also has a bag on his back. The kaross painted here is a good example where we are lucky enough to see the yellow ochre preserved as opposed to the many paintings where the infilled paint for the kaross is “absent”.

Low down and to the right is a long procession of equids (probably zebras) with hartebeest and the red torsos of eland. The intentional use of processions and conflations of animal and human attributes seen at the previous sites gives us insights into what the painters were conveying about the intertwined relationship between people and the animals that held symbolic significance to them. Look closely, for example, at the array of human figures that are over-painted by the equids - this is not a realistic scene at all and shows how the motifs were re-arranged and interchanged in different scenes from site to site to indicate the meaning and power of the metaphors that they represent.

Two women facing right are shown towards the upper section of the surface and are very well preserved. They have well developed hips and legs and slender and elongated upper bodies. This is partly convention because we know from depictions at many other sites that women are often painted this way, while men are shown associated with hunting equipment and have more slender lower torsos. However, the elongation of the bodies is also associated with trance and the women appear to be dancing with arms outstretched as they would in a trance healing dance.

Below the two women is another procession of people facing left. They are carrying equipment seen at the previous sites (bags, quivers) and are wearing karosses. A taller person facing right that is not wearing a kaross appears to be superimposed by the procession of kaross-wearing people and is painted in a similar size and form to people found further to the right in dark maroon. The thin dark lines above and between some of the people are unfortunately remnants of illegal graffiti and it has not been possible to remove them without damaging the paintings.
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The main feature of this site is the great number of plain hand prints in red ochre (at least 36). They were made by first applying paint to the hand and then pressing the hand onto the surface of the shelter wall. Extensive research of these hand prints across the region has shown that they were primarily made by Khoe-San sub-adults aged between 11-14 years old. Hand prints made by people younger and older than this age group do occur but the statistically significant number of 12 year old hand print makers in particular suggests that they were made as part of an initiation or coming of age ritual. Decorated hand prints occur in many sites to the west of the Cederberg in the Sandveld area along the West Coast. These are made in a similar way to plain hand prints but patterns, often u-shaped, are made in the palm of the hand after being dipped in paint and before applying them to the rock surface in order to leave a negative outline of the decoration.

Site # 8 also contains a few finger painted humans and animal paintings that were probably made around the same time period as the hand prints.
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The main painting which stands out has about 13 people in what is known as a “group scene”. They appear in black but were almost certainly originally painted in red ochre and possibly other colours that have since been changed to black by bacteria that have colonised an organic ingredient in the paint. The group scene is painted on top of (superimposed) a series of older fineline and elongated paintings of people visible on the enhanced DStretch images. Some have hook heads (in profile) and others are front-facing. The hook, in red, is the top and back of a person’s head and neck. The face, that was originally painted in white or yellow, has disappeared. The people are well-drawn in the fineline tradition. Some carry quivers with tassels, and bows. Additional people are visible above including a pair of delicately-painted legs. The colour of the kaross that the person was wearing has faded - and a triangular bag that the person was carrying has tassels hanging from it. Look out below the legs for two tiny elephants that seem to be sparring with each other. The very tall person to the far right is almost life-size.
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There are a number of therianthropic images that combine people’s legs with eland torsos bent forward at the waist. This is another classic example of trance-related imagery derived from visions experienced by the painters. In these figures, their torsos are horizontal but they also have tails. There are also hand prints and other people visible including a group of adults and a child carrying quivers, bows and a bag.

To the left are tiny animated black stick-like people in various postures. One is running with legs open, holding a stick or spear. A small figure falls backwards with legs up and arms outstretched, another posture associated with altered states of consciousness.
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This site has paintings of people and some unusual animals. Three hook heads in dark brown and maroon still retain remnants of white on their faces. Two of them are clapping with splayed fingers as is still done during the trance healing dance of present-day San in Namibia. One of the people even has clearly defined toes. Round paint patches like the one to the left of the clapping people were originally interpreted as paint palettes but later research has connected them to ‘power’ spots that held potency for the painters. Some examples have been rubbed smooth. Additional people are visible in a rust colour, one holding up three fingers, and several very small people can be seen in red. Animals to the left include an equid that may represent the extinct quagga or a zebra, and another is possibly a tiny baboon.

The most striking feature of this panel is the scene above the clapping people that has a row of therianthropic figures that conflate people’s legs and arms with reptilian heads and bodies that bend forward from the waist.
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There are a number of paintings of people and animals, as well as shapes, lines and splotches of paint. Animals include another possible quagga or zebra (equids) and a painting of a hartebeest which is a large antelope but smaller than the eland. The surface of the shelter wall is difficult to paint on as it contains a number of quartzite cobbles that were formed into a mix of gravels and sand during the sedimentary process that formed the rock. Hartebeest paintings are relatively common in the Cederberg and were an important symbol in the cosmology of the San people who made these paintings.
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