#: locale=en ## Tour ### Title tour.name = Warmhoek ## Skin ### Label Label_C442118E_EFB3_308B_41DF_7ED18BE8F251.text = SHEEP SHELTER (a) Label_C442118E_EFB3_308B_41DF_7ED18BE8F251_mobile.text = SHEEP SHELTER (a) Label_C4C201C6_EFB3_70FB_41E2_45DE995C136E.text = RIVER SHELTER Label_C4C201C6_EFB3_70FB_41E2_45DE995C136E_mobile.text = RIVER SHELTER Label_C51899EA_EF91_108B_41E2_879201DFE673.text = HISTORIC SHELTER (a) Label_C51899EA_EF91_108B_41E2_879201DFE673_mobile.text = HISTORIC SHELTER (a) Label_C56F43D0_EF91_1097_41E5_87E73C0A7B53_mobile.text = SITE: Label_C6AB8B2E_EFB7_318B_41D1_2B2F5660A750.text = SHEEP SHELTER Label_C6AB8B2E_EFB7_318B_41D1_2B2F5660A750_mobile.text = SHEEP SHELTER (b) Label_C6C51AE5_EFB1_10B9_41E0_2B2A3136E7BB.text = FARMHOUSE RUIN Label_C6C51AE5_EFB1_10B9_41E0_2B2A3136E7BB_mobile.text = FARMHOUSE RUIN Label_C6D8FD7D_EFB1_1189_41CF_FED77D85E4B1.text = HISTORIC SHELTER (b) Label_C6D8FD7D_EFB1_1189_41CF_FED77D85E4B1_mobile.text = HISTORIC SHELTER (b) Label_C6E3E525_EFB3_31B9_41DA_A018C0BB3255.text = PROCESSION SHELTER Label_C6E3E525_EFB3_31B9_41DA_A018C0BB3255_mobile.text = PROCESSION SHELTER Label_DBD488BD_EFB1_1089_41D8_91347D61884B.text = AERIAL PANORAMA Label_DBD488BD_EFB1_1089_41D8_91347D61884B_mobile.text = AERIAL PANORAMA Label_DBFC2E1E_EFB3_138B_41D1_F059CD7145C1.text = CANDLE CAVE Label_DBFC2E1E_EFB3_138B_41D1_F059CD7145C1_mobile.text = CANDLE CAVE ### Tooltip IconButton_131A81C1_0012_364E_4139_F045B5F45FD6.toolTip = Info IconButton_131A81C1_0012_364E_4139_F045B5F45FD6_mobile.toolTip = Info IconButton_417B29DC_7D18_D8AA_41C0_4E74FD9095A2.toolTip = Next position IconButton_417B29DC_7D18_D8AA_41C0_4E74FD9095A2_mobile.toolTip = Next position IconButton_42175748_7D18_C9AA_41CE_D9C0BBDF5CCC.toolTip = Next position IconButton_42175748_7D18_C9AA_41CE_D9C0BBDF5CCC_mobile.toolTip = Next position IconButton_421D770A_7D08_C9AF_41D7_62F232E7FA45.toolTip = Next position IconButton_421D770A_7D08_C9AF_41D7_62F232E7FA45_mobile.toolTip = Next position IconButton_471F7232_7D18_CBFF_41DA_24975EC36FB2.toolTip = Next position IconButton_471F7232_7D18_CBFF_41DA_24975EC36FB2_mobile.toolTip = Next position IconButton_4723C57B_7D18_C86E_41C1_A91BDC80AC95.toolTip = Next position IconButton_4723C57B_7D18_C86E_41C1_A91BDC80AC95_mobile.toolTip = Next position IconButton_477E4926_7D18_D9E6_41CF_481127DCDBF0.toolTip = Next position IconButton_477E4926_7D18_D9E6_41CF_481127DCDBF0_mobile.toolTip = Next position IconButton_477F9625_7D18_CBE5_41DA_E70D54F7AF6F.toolTip = Next position IconButton_477F9625_7D18_CBE5_41DA_E70D54F7AF6F_mobile.toolTip = Next position IconButton_60C39455_7B0B_4FBA_41DB_84D921782389.toolTip = Help IconButton_60C39455_7B0B_4FBA_41DB_84D921782389_mobile.toolTip = Help IconButton_60E60BFD_7B09_5865_41CD_D8A77F5E7992.toolTip = Hotspots IconButton_60E60BFD_7B09_5865_41CD_D8A77F5E7992_mobile.toolTip = Hotspots IconButton_61FBF1F4_7B09_487A_41D4_B508883ABFD0.toolTip = Map IconButton_61FBF1F4_7B09_487A_41D4_B508883ABFD0_mobile.toolTip = Map IconButton_DB78F6B5_FB3A_7A23_41EB_4EF0D69B1C3D.toolTip = Next position IconButton_DB78F6B5_FB3A_7A23_41EB_4EF0D69B1C3D_mobile.toolTip = Next position IconButton_E4CE125C_FBFE_9A61_41EE_3DDBA73028FB.toolTip = Start tour IconButton_E4CE125C_FBFE_9A61_41EE_3DDBA73028FB_mobile.toolTip = Start tour ## Media ### Title album_6C524EF0_60F7_7DE6_41C4_BF5BABF54410.label = River 3 album_6C524EF0_60F7_7DE6_41C4_BF5BABF54410_0.label = River-6185222 album_6C524EF0_60F7_7DE6_41C4_BF5BABF54410_1.label = River-6185222_lds album_6C524EF0_60F7_7DE6_41C4_BF5BABF54410_2.label = River-6185222_yrd album_6C5CC030_60D0_E466_4196_D1A1A61D1C7E.label = Ruin a album_6C5CC030_60D0_E466_4196_D1A1A61D1C7E_0.label = DSC_0146 album_6C5CC030_60D0_E466_4196_D1A1A61D1C7E_1.label = RuinP6184960 album_6C5CC030_60D0_E466_4196_D1A1A61D1C7E_2.label = RuinP6184961 album_6C5CC030_60D0_E466_4196_D1A1A61D1C7E_3.label = RuinP6184965 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album_6D3DCADD_60F7_E5DE_41CC_7B01D6981A0E_1.label = River-6185221_lds album_6D3DCADD_60F7_E5DE_41CC_7B01D6981A0E_2.label = River-6185221_yre album_6D4E2228_60FF_6466_41CC_2A6BC14E771D.label = River 9 album_6D4E2228_60FF_6466_41CC_2A6BC14E771D_0.label = River-6185249 album_6D4E2228_60FF_6466_41CC_2A6BC14E771D_1.label = River-6185249_lds album_6D4E2228_60FF_6466_41CC_2A6BC14E771D_2.label = River-6185249_yrd album_6D50457D_60F1_ECDF_41C0_BE527ECEFDCA.label = River 8 album_6D50457D_60F1_ECDF_41C0_BE527ECEFDCA_0.label = River-6185238 album_6D50457D_60F1_ECDF_41C0_BE527ECEFDCA_1.label = River-6185238_lds album_6D50457D_60F1_ECDF_41C0_BE527ECEFDCA_2.label = River-6185238_yre album_6DC1AEF8_60F1_7DE6_41AC_81ED5BF463A2.label = River 1 album_6DC1AEF8_60F1_7DE6_41AC_81ED5BF463A2_0.label = River-6185216 album_6DC1AEF8_60F1_7DE6_41AC_81ED5BF463A2_1.label = River-6185216_lds album_6DC1AEF8_60F1_7DE6_41AC_81ED5BF463A2_2.label = River-6185216_yre album_6DF43DE4_60F1_DFED_41B6_957ECD3502F1.label = River 6 album_6DF43DE4_60F1_DFED_41B6_957ECD3502F1_0.label = River-6185229 album_6DF43DE4_60F1_DFED_41B6_957ECD3502F1_1.label = River-6185229_lds album_6DF43DE4_60F1_DFED_41B6_957ECD3502F1_2.label = River-6185229_yre album_6E6D38E8_60F1_25E6_41C6_5AF0FC80AD7E.label = River 11 album_6E6D38E8_60F1_25E6_41C6_5AF0FC80AD7E_0.label = River-6185262 album_6E6D38E8_60F1_25E6_41C6_5AF0FC80AD7E_1.label = River-6185262_ybk album_6E6D38E8_60F1_25E6_41C6_5AF0FC80AD7E_2.label = River-6185262_yre album_6E889EE4_60F1_5DEE_41C4_7857FCE0FF98.label = Candle 1 album_6E889EE4_60F1_5DEE_41C4_7857FCE0FF98_0.label = Candle-6185325 album_6E889EE4_60F1_5DEE_41C4_7857FCE0FF98_1.label = Candle-6185325_ybk album_6E889EE4_60F1_5DEE_41C4_7857FCE0FF98_2.label = Candle-6185325_yre album_6EAF3FB5_60F1_3C6E_41C2_3382B57E020A.label = River 7 album_6EAF3FB5_60F1_3C6E_41C2_3382B57E020A_0.label = River-6185233 album_6EAF3FB5_60F1_3C6E_41C2_3382B57E020A_1.label = River-6185233_yrd 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album_7275562B_6131_2C7A_41D0_5DE35C415D0E_7.label = Procession-6185288_lds album_7275562B_6131_2C7A_41D0_5DE35C415D0E_8.label = Procession-6185288_yre album_7275562B_6131_2C7A_41D0_5DE35C415D0E_9.label = Procession-6185289 album_72F210E5_6153_25EE_41D5_E6117B706E61.label = Sheep 1 album_72F210E5_6153_25EE_41D5_E6117B706E61_0.label = Sheep-P6185363 album_72F210E5_6153_25EE_41D5_E6117B706E61_1.label = Sheep-P6185363_lds album_72F210E5_6153_25EE_41D5_E6117B706E61_2.label = Sheep-P6185363_yre album_74157F51_6150_DC26_41CA_03F0AD8FA566.label = Hist 6 album_74157F51_6150_DC26_41CA_03F0AD8FA566_0.label = hist--6185016 album_74157F51_6150_DC26_41CA_03F0AD8FA566_1.label = hist--6185016_lds album_74157F51_6150_DC26_41CA_03F0AD8FA566_2.label = hist--6185016_yre album_742199FE_6153_E7DA_41D2_64D858A0ABBC.label = Hist 18 album_742199FE_6153_E7DA_41D2_64D858A0ABBC_0.label = hist--6185045 album_742199FE_6153_E7DA_41D2_64D858A0ABBC_1.label = hist--6185045_crgb album_742199FE_6153_E7DA_41D2_64D858A0ABBC_2.label = hist--6185045_yre album_7422F55F_6151_ECDA_41CF_B0D020A48BE5.label = Hist 15 album_7422F55F_6151_ECDA_41CF_B0D020A48BE5_0.label = hist--6185036 album_7422F55F_6151_ECDA_41CF_B0D020A48BE5_1.label = hist--6185036_lds album_7422F55F_6151_ECDA_41CF_B0D020A48BE5_2.label = hist--6185036_yre album_743D7241_6153_6426_41B5_F2B8B56780E4.label = Hist 19 album_743D7241_6153_6426_41B5_F2B8B56780E4_0.label = hist--6185046 album_743D7241_6153_6426_41B5_F2B8B56780E4_1.label = hist--6185046_yrd album_743D7241_6153_6426_41B5_F2B8B56780E4_2.label = hist--6185046_yre album_7445AD09_6153_5C26_41D5_700DDFC7C307.label = Hist 17 album_7445AD09_6153_5C26_41D5_700DDFC7C307_0.label = hist--6185039 album_7445AD09_6153_5C26_41D5_700DDFC7C307_1.label = hist--6185039_lds album_7445AD09_6153_5C26_41D5_700DDFC7C307_2.label = hist--6185039_yre album_7452A7EA_6171_2BFA_41B7_3201B28653D0.label = Hist 23 album_7452A7EA_6171_2BFA_41B7_3201B28653D0_0.label = hist--6185062 album_7452A7EA_6171_2BFA_41B7_3201B28653D0_1.label = hist--6185062_lds album_7452A7EA_6171_2BFA_41B7_3201B28653D0_2.label = hist--6185062_yrd album_7498D6AF_6151_2C7A_41B3_DEF3DCD85098.label = Hist 20 album_7498D6AF_6151_2C7A_41B3_DEF3DCD85098_0.label = hist--6185053 album_7498D6AF_6151_2C7A_41B3_DEF3DCD85098_1.label = hist--6185053_lds album_7498D6AF_6151_2C7A_41B3_DEF3DCD85098_2.label = hist--6185053_yre album_74AAEF10_6170_DC26_41C2_1E1BAE547F60.label = Hist 21 album_74AAEF10_6170_DC26_41C2_1E1BAE547F60_0.label = hist--6185069 album_74AAEF10_6170_DC26_41C2_1E1BAE547F60_1.label = hist--6185069_lds album_74AAEF10_6170_DC26_41C2_1E1BAE547F60_2.label = hist--6185069_yrd album_74CC4BBC_6151_E45E_41C6_A88A686008C1.label = Hist 19 album_74CC4BBC_6151_E45E_41C6_A88A686008C1_0.label = hist--6185050 album_74CC4BBC_6151_E45E_41C6_A88A686008C1_1.label = hist--6185050_lds album_74CC4BBC_6151_E45E_41C6_A88A686008C1_2.label = hist--6185050_yrd album_751E46D5_612F_6C2E_41D5_8F1C7FAE7581.label = Pro 6 album_751E46D5_612F_6C2E_41D5_8F1C7FAE7581_0.label = Procession-6185271 album_751E46D5_612F_6C2E_41D5_8F1C7FAE7581_1.label = Procession-6185271_lds album_751E46D5_612F_6C2E_41D5_8F1C7FAE7581_2.label = Procession-6185271_yre album_752C80C5_6151_642E_41D0_4E4D8266B89C.label = Sheep 8 album_752C80C5_6151_642E_41D0_4E4D8266B89C_0.label = Sheep-P6185380 album_752C80C5_6151_642E_41D0_4E4D8266B89C_1.label = Sheep-P6185380_lds album_752C80C5_6151_642E_41D0_4E4D8266B89C_2.label = Sheep-P6185380_yre album_752FDB78_6150_E4E6_41B9_C5F9F6F7260F.label = Sheep 2 album_752FDB78_6150_E4E6_41B9_C5F9F6F7260F_0.label = Sheep-P6185364 album_752FDB78_6150_E4E6_41B9_C5F9F6F7260F_1.label = Sheep-P6185364_crgb album_752FDB78_6150_E4E6_41B9_C5F9F6F7260F_2.label = Sheep-P6185364_yre album_75319CE0_6150_DDE5_41CE_212B8F348B33.label = Sheep 6 album_75319CE0_6150_DDE5_41CE_212B8F348B33_0.label = Sheep-P6185376 album_75319CE0_6150_DDE5_41CE_212B8F348B33_1.label = Sheep-P6185376_yrd album_75319CE0_6150_DDE5_41CE_212B8F348B33_2.label = Sheep-P6185376_yre album_75350C16_6151_3C2A_41B1_A76BE900752F.label = Sheep 4 album_75350C16_6151_3C2A_41B1_A76BE900752F_0.label = Sheep-P6185373 album_75350C16_6151_3C2A_41B1_A76BE900752F_1.label = Sheep-P6185373_lds album_75350C16_6151_3C2A_41B1_A76BE900752F_2.label = Sheep-P6185373_yre album_754DFD10_6151_3C26_41B8_E375D8DCFED5.label = Sheep 3 album_754DFD10_6151_3C26_41B8_E375D8DCFED5_0.label = Sheep-P6185371 album_754DFD10_6151_3C26_41B8_E375D8DCFED5_1.label = Sheep-P6185371_lds album_754DFD10_6151_3C26_41B8_E375D8DCFED5_2.label = Sheep-P6185371_yrd album_75509B64_6151_24EE_41D2_E1204AC36DDC.label = Hist 1 album_75509B64_6151_24EE_41D2_E1204AC36DDC_0.label = hist--6184992 album_75509B64_6151_24EE_41D2_E1204AC36DDC_1.label = hist--6184992_lds album_75509B64_6151_24EE_41D2_E1204AC36DDC_2.label = hist--6184992_yre album_755B7EE0_6151_3DE6_41D6_FC16CD12DBE4.label = Sheep 7 album_755B7EE0_6151_3DE6_41D6_FC16CD12DBE4_0.label = Sheep-P6185378 album_755B7EE0_6151_3DE6_41D6_FC16CD12DBE4_1.label = Sheep-P6185378_yrd album_755B7EE0_6151_3DE6_41D6_FC16CD12DBE4_2.label = Sheep-P6185378_yre album_7589BD72_6153_3CEA_41B9_471459401697.label = Hist 5 album_7589BD72_6153_3CEA_41B9_471459401697_0.label = hist--6185008 album_7589BD72_6153_3CEA_41B9_471459401697_1.label = hist--6185008_lds album_7589BD72_6153_3CEA_41B9_471459401697_2.label = hist--6185008_yre album_758C63CF_612F_243A_41C2_573CFD6AEDE4.label = Pro 5 album_758C63CF_612F_243A_41C2_573CFD6AEDE4_0.label = Procession-6185280 album_758C63CF_612F_243A_41C2_573CFD6AEDE4_1.label = Procession-6185280_crgb album_758C63CF_612F_243A_41C2_573CFD6AEDE4_2.label = Procession-6185280_yre album_759004DD_6151_2DDE_41D4_48303E04E461.label = Hist 2 album_759004DD_6151_2DDE_41D4_48303E04E461_0.label = hist--6184994 album_759004DD_6151_2DDE_41D4_48303E04E461_1.label = hist--6184994_lds album_759004DD_6151_2DDE_41D4_48303E04E461_2.label = hist--6184994_yre album_75915059_6150_E426_41CB_F6D2D7CDC987.label = Hist 3 album_75915059_6150_E426_41CB_F6D2D7CDC987_0.label = hist--6184995 album_75915059_6150_E426_41CB_F6D2D7CDC987_1.label = hist--6184995_crgb album_75915059_6150_E426_41CB_F6D2D7CDC987_2.label = hist--6184995_yre album_75A40FB3_6151_3C6A_41C3_F8E67C9B7412.label = Hist 14 album_75A40FB3_6151_3C6A_41C3_F8E67C9B7412_0.label = hist--6185035 album_75A40FB3_6151_3C6A_41C3_F8E67C9B7412_1.label = hist--6185035_lds album_75A40FB3_6151_3C6A_41C3_F8E67C9B7412_2.label = hist--6185035_yre album_75A5ADB1_6157_3C66_41C9_D2445056BB0E.label = Hist 10 album_75A5ADB1_6157_3C66_41C9_D2445056BB0E_0.label = hist--6185027 album_75A5ADB1_6157_3C66_41C9_D2445056BB0E_1.label = hist--6185027_crgb album_75A5ADB1_6157_3C66_41C9_D2445056BB0E_2.label = hist--6185027_yrd album_75B21230_6151_2466_41D2_86E0DC4FCCE1.label = Hist 9 album_75B21230_6151_2466_41D2_86E0DC4FCCE1_0.label = hist--6185025 album_75B21230_6151_2466_41D2_86E0DC4FCCE1_1.label = hist--6185025_crgb album_75B21230_6151_2466_41D2_86E0DC4FCCE1_2.label = hist--6185025_yre album_75B2A93F_6157_245A_41CB_643458385EBD.label = Sheep 5 album_75B2A93F_6157_245A_41CB_643458385EBD_0.label = Sheep-P6185375 album_75B2A93F_6157_245A_41CB_643458385EBD_1.label = Sheep-P6185375_yrd album_75B2A93F_6157_245A_41CB_643458385EBD_2.label = Sheep-P6185375_yre album_75B73D0D_6150_DC3E_41CA_10DE6C8C126A.label = Hist 13 album_75B73D0D_6150_DC3E_41CA_10DE6C8C126A_0.label = hist--6185033 album_75B73D0D_6150_DC3E_41CA_10DE6C8C126A_1.label = hist--6185033_lds album_75B73D0D_6150_DC3E_41CA_10DE6C8C126A_2.label = hist--6185033_yre album_75B751C9_6151_2426_41C9_F52FAF9745A6.label = Hist 7 album_75B751C9_6151_2426_41C9_F52FAF9745A6_0.label = hist--6185017 album_75B751C9_6151_2426_41C9_F52FAF9745A6_1.label = hist--6185017_lds album_75B751C9_6151_2426_41C9_F52FAF9745A6_2.label = hist--6185017_yre album_75BBFBF2_6157_3BE5_41B3_0326D8B74456.label = Hist 11 album_75BBFBF2_6157_3BE5_41B3_0326D8B74456_0.label = hist--6185029 album_75BBFBF2_6157_3BE5_41B3_0326D8B74456_1.label = hist--6185029_crgb album_75BBFBF2_6157_3BE5_41B3_0326D8B74456_2.label = hist--6185029_yrd album_75BDA093_6153_242A_41B2_503272A89DFE.label = Hist 4 album_75BDA093_6153_242A_41B2_503272A89DFE_0.label = hist--6185006 album_75BDA093_6153_242A_41B2_503272A89DFE_1.label = hist--6185006_lds album_75BDA093_6153_242A_41B2_503272A89DFE_2.label = hist--6185006_yrd album_75C8A0E2_6151_65EA_41C6_CE02EB65199A.label = Hist 16 album_75C8A0E2_6151_65EA_41C6_CE02EB65199A_0.label = hist--6185037 album_75C8A0E2_6151_65EA_41C6_CE02EB65199A_1.label = hist--6185037_lds album_75C8A0E2_6151_65EA_41C6_CE02EB65199A_2.label = hist--6185037_yre album_75D41C68_6157_5CE6_41AE_AF9CFE79FC32.label = Hist 12 album_75D41C68_6157_5CE6_41AE_AF9CFE79FC32_0.label = hist--6185032 album_75D41C68_6157_5CE6_41AE_AF9CFE79FC32_1.label = hist--6185032_crgb album_75D41C68_6157_5CE6_41AE_AF9CFE79FC32_2.label = hist--6185032_yre album_75DAEE59_6151_3C27_41D0_91659596CF79.label = Hist 8 album_75DAEE59_6151_3C27_41D0_91659596CF79_0.label = hist--6185019 album_75DAEE59_6151_3C27_41D0_91659596CF79_1.label = hist--6185019_lds album_75DAEE59_6151_3C27_41D0_91659596CF79_2.label = hist--6185019_yre album_760C52AD_6171_E47E_41D1_EE3ED5763FCB.label = Hist 34 album_760C52AD_6171_E47E_41D1_EE3ED5763FCB_0.label = hist--6185147 album_760C52AD_6171_E47E_41D1_EE3ED5763FCB_1.label = hist--6185147_crgb album_760C52AD_6171_E47E_41D1_EE3ED5763FCB_2.label = hist--6185147_yre album_760C52AD_6171_E47E_41D1_EE3ED5763FCB_3.label = hist--6185151 album_760C52AD_6171_E47E_41D1_EE3ED5763FCB_4.label = hist--6185151_crgb album_760C52AD_6171_E47E_41D1_EE3ED5763FCB_5.label = hist--6185151_yre album_760C52AD_6171_E47E_41D1_EE3ED5763FCB_6.label = hist--6185153 album_760C52AD_6171_E47E_41D1_EE3ED5763FCB_7.label = hist--6185153_lds album_760C52AD_6171_E47E_41D1_EE3ED5763FCB_8.label = hist--6185153_yre album_7685E00D_6170_E43E_41D1_0B1C109AF433.label = Hist 24 album_7685E00D_6170_E43E_41D1_0B1C109AF433_0.label = hist--6185086 album_7685E00D_6170_E43E_41D1_0B1C109AF433_1.label = hist--6185086_crgb album_7685E00D_6170_E43E_41D1_0B1C109AF433_2.label = hist--6185086_yrd album_771B5492_6177_2C2A_41C6_20530D7EC4FC.label = Hist 28 album_771B5492_6177_2C2A_41C6_20530D7EC4FC_0.label = hist--6185113 album_771B5492_6177_2C2A_41C6_20530D7EC4FC_1.label = hist--6185113_lds album_771B5492_6177_2C2A_41C6_20530D7EC4FC_2.label = hist--6185113_yre album_771FDDC6_6171_7C2A_41BB_C962E4BE7FDC.label = Hist 26 album_771FDDC6_6171_7C2A_41BB_C962E4BE7FDC_0.label = hist--6185088 album_771FDDC6_6171_7C2A_41BB_C962E4BE7FDC_1.label = hist--6185088_lds album_771FDDC6_6171_7C2A_41BB_C962E4BE7FDC_2.label = hist--6185088_yre album_77213CEA_6171_3DFA_41CF_4ECC8CBA4E14.label = Hist 22 album_77213CEA_6171_3DFA_41CF_4ECC8CBA4E14_0.label = hist--6185073 album_77213CEA_6171_3DFA_41CF_4ECC8CBA4E14_1.label = hist--6185073_lds album_77213CEA_6171_3DFA_41CF_4ECC8CBA4E14_2.label = hist--6185073_yrd album_7741DFA3_6170_DC6A_41D7_D4BA9E270103.label = Hist 36 album_7741DFA3_6170_DC6A_41D7_D4BA9E270103_0.label = hist--6185159 album_7741DFA3_6170_DC6A_41D7_D4BA9E270103_1.label = hist--6185159_crgb album_7741DFA3_6170_DC6A_41D7_D4BA9E270103_2.label = hist--6185159_yre album_77446209_6173_2426_41D4_16E68EA81494.label = Hist 42 album_77446209_6173_2426_41D4_16E68EA81494_0.label = hist--6185202 album_77446209_6173_2426_41D4_16E68EA81494_1.label = hist--6185202_crgb album_77446209_6173_2426_41D4_16E68EA81494_2.label = hist--6185202_yre album_7756DEAA_6173_FC7A_41D0_1B0E7871C06D.label = Hist 33 album_7756DEAA_6173_FC7A_41D0_1B0E7871C06D_0.label = hist--6185145 album_7756DEAA_6173_FC7A_41D0_1B0E7871C06D_1.label = hist--6185145_lds album_7756DEAA_6173_FC7A_41D0_1B0E7871C06D_2.label = hist--6185145_yre album_7756DEAA_6173_FC7A_41D0_1B0E7871C06D_3.label = hist--6185146 album_7756DEAA_6173_FC7A_41D0_1B0E7871C06D_4.label = hist--6185146_lds album_7756DEAA_6173_FC7A_41D0_1B0E7871C06D_5.label = hist--6185146_yre album_7757ABAE_6171_247A_41C7_18E85BBFD008.label = Hist 40 album_7757ABAE_6171_247A_41C7_18E85BBFD008_0.label = hist--6185182 album_7757ABAE_6171_247A_41C7_18E85BBFD008_1.label = hist--6185182_lds album_7757ABAE_6171_247A_41C7_18E85BBFD008_2.label = hist--6185182_yrd album_775C18DF_6171_65DA_41C0_FF0345BB4823.label = Hist 30 album_775C18DF_6171_65DA_41C0_FF0345BB4823_0.label = hist--6185120 album_775C18DF_6171_65DA_41C0_FF0345BB4823_1.label = hist--6185120_lds album_775C18DF_6171_65DA_41C0_FF0345BB4823_2.label = hist--6185120_yre album_776F69A3_6177_246A_41AE_D8E9F589D418.label = Hist 27 album_776F69A3_6177_246A_41AE_D8E9F589D418_0.label = hist--6185097 album_776F69A3_6177_246A_41AE_D8E9F589D418_1.label = hist--6185097_crgb album_776F69A3_6177_246A_41AE_D8E9F589D418_2.label = hist--6185097_yre album_776FEE93_617F_7C2A_41C1_20E5053E7F53.label = 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Warmhoek is an old farm southeast of Clanwilliam on a considerable bend in the Jan Dissels River. This virtual tour provides remote access to a number of rock shelters in the Jan Dissels Valley, as well as the ruins of the historic farm house located there.

An additional touch of authenticity is lent by Professor John Parkington's voice describing the rock art found along this trail. He has worked in the Clanwilliam district for over 50 years, and knows the terrain intimately. His passion for the landscape is evident in the knowledge shared at each site.


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This procession of human figures, almost all of them facing to the right, dominates the site and gives it its name. The images have been placed carefully along a prominent rock stratum and are very well preserved, with lots of detail still visible. We have noticed that, throughout the Western Cape, it is far more common to see lines of figures, whether humans or animals, depicted facing right than facing left. If there was no significance in the directionality of such lines we would expect something close to an even split, but twice as many face right as face left. At first we wondered whether this had something to do with the handedness of the painters. Perhaps left handed painters preferred one direction, right handers another. There is no recorded human society which has a two to one ratio between right and left handers, making this an unlikely explanation. We have concluded that right and left had some more symbolic significance to the painters, as indeed they do to most people. In English, for example, the word sinister, from the Latin for left, has negative implications, whilst dextrous, from the Latin for right, has a more positive meaning.

Painters on fairly flat rock surfaces were faced with the problem of reducing three spatial dimensions into the two available on the canvas. We can see a number of their solutions in the paintings themselves. But what of the fourth dimension, time? In some compositions time needed to be depicted, because an event or occasion took place over a period of time, possibly minutes or even longer. Movement, for example, implies both space and time. Any attempt to depict a dance, a hunt or any other act with duration, needed to make a conventional decision about order and sequence. Note, we are not necessarily saying that the depiction of the event was the main reason for painting, nor that every painting encodes time, rather that when time was an element it is likely to have been conventionally handled so that viewers were not left in doubt. Our conclusion is that for the painters left means before or earlier, right means after or later. Things happen, people dance, from left to right.
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These rather faint yellow or mustard coloured shapes would be impossible to interpret if we didn't have many similar ones with better resolution at other sites. We consider them to be the faded torsos of bichrome eland. To help our interpretation we compare them with some eland torsos from nearby sites. Like the cloaked figures to the left, both eland face right. Also like them, the eland have, or had, neck, faces and legs painted in a second colour. The yellow or mustard colour of the eland torsos is remarkably similar to that of the cloaks. We believe that these conventionalised ways of painting cloaked male human figures and eland are similar and intentionally so. The cloak, after all, is likely to have been an eland skin. We know, also, from the records of /Xam people recorded by Wilhelm Bleek and Lucy Lloyd in the 1870s, that an object never ceases to be the material from which it has been made. An eland skin never ceases to be an eland. The men wear elands, and so become elands. This connectedness is captured by the artists, by using a set of very similar conventions to paint cloaked men and eland. Try turning the bichrome eland through ninety degrees and see how similar they are to hook headed cloaked humans.

Does this now enable us to interpret the cloaked men further? Why are some men naked, and why are they often painted with drawn bows? Remember that in the Kalahari a boy becomes a man when he kills his first eland. A kudu, a gemsbok or a hartebeest may be acceptable, but never a steenbok, a duiker, nor, obviously, a tortoise! The wearing of the eland skin marks the man who has killed his first large game animal, who has become a man, who has earned a wife. It is likely that the naked men are boys who have yet to earn their cloak, yet to make the transition to manhood and potential husband hood.

Why would the eland be singled out for this special relationship with initiation? Obviously, as a very large game animal, the largest it might be possible to kill regularly with a bow and poisoned arrow, an eland is the prize catch. The 300 kg of meat would enable a successful hunter to repay many debts and lay out considerable insurance against future poor hunting success. Other hunters would repay the debt, because sharing is such an important basic value among hunter gatherers. A man who never succeeds in killing a large game animal such as an eland will struggle to meet his social obligations, and probably fail to provide for his extended family. For this reason, boys attend a first kill ceremony when they have killed their first eland, or other equivalent large game animal such as a kudu, a gemsbok or a hartebeest. This is the ritual rebirth of a boy as a man, and only after this demonstration of ability is a man allowed to marry. Success as a hunter is symbolically linked to potential as a husband. As this linkage implies, there are significances to an eland that go far beyond practical economics, and to understand these we need to revisit the records collected by Bleek and Lloyd in the 1870s in Cape Town. The eland was the favourite creation of the mantis, /kaggen. /kaggen made the eland and gave it its colours, rearing it in a secluded kloof, where he visits his creation and rubs it down with honey. His family become suspicious of his claim that he brings them no honey because he cannot find any. A grandson, the Egyptian mongoose, hides in /kaggen’s bag and witnesses the mantis rubbing the eland and fondling it lovingly. He returns and tells the family. Later, /kaggen returns to the kloof to find some Meerkats (small carnivores) butchering the eland which they have killed in his absence. He is grief stricken and bemoans the fact that they didn't ask his permission, making it clear he had had other intentions for the eland. The episode ends in the recognition by all, reluctantly by /kaggen, that this new relationship, that of hunter and prey, will now be the one between people and the eland. This is, of course, the seminal kill, the moment that creates the hunter and his role, the justification for killing such a large and beautiful animal, and the moment that separates man from animal. /kaggen vows to fight on in the eland’s defence. All hunters need to understand that to successfully kill the eland, they need to battle /kaggen, to gain his permission by their adherence to the rules of the game, to respect the circumstances under which a hunter can leave such a large hole in the world. This is presumably what the young men must learn as they are symbolically reborn as hunters and husbands at the first kill ceremony.

It is also significant that the act of hunting not only divides man from animal but also man from woman. Not everyone kills large game with the bow and poisoned arrows; women are discouraged from even touching arrows. Another foray into the Kalahari ethnography exposes
the rich potential of this issue. Men are said to hunt women as a carnivore hunts a herbivore, linking sex and hunting in a widely used metaphorical framework that fits the allusive, indirect verbal style of these Kalahari people. To drive home this metaphor, a girl is said to have “shot and eland” when she first menstruates. She is secluded and older women dance the eland bull dance to welcome her into the herd. She may now be hunted and eaten by the young men who have also, more literally, shot their eland. Eland are the animals by which people establish and justify their life’s work, taking a special place in the linking together of myth, ritual and practice. As Patricia Vinnicombe has noted, the San were ‘people of the eland’.
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The first figure counting from the left is by far the most enigmatic of this line, in part because he is clearly male and naked. Other unusual features are the treatment of buttocks and the head region. We have struggled to understand the head and to decide whether the figure has a muzzle or not, but he is clearly important to the interpretation of the line as a whole. The nakedness reflects a common convention in Western Cape paintings and, because southern African hunters do not normally walk around naked, must mean that the painter intended to use the gendering of a human figure to make her or his point. In fact, none of the humans in this procession is clearly female, and none is even marginally or arguably so. This is a procession of armed males. The second figure is a presumed male, presumed because of the equipment carried. He, if this is a correct interpretation, wears a yellow cloak or kaross and carries a red shoulder bag and a hunting bag, from which a bow and some other gear protrudes. He is a hook headed figure, in that the outline of the head is painted in red and the face filled in in another colour, in this case yellow. His legs are red. Note that the bottom end of the red hunting bag emerges from the right hand margin of the cloak, implying that it is worn on the left shoulder and is, thus, obscured by the cloak. In the Kalahari men, who are almost all right handed, carry their hunting bag on the left shoulder to maximise quick and easy access to the arrows. The painted result is that the shape of the cloak is left intact, and easily readable. We wonder what would happen in figures painted facing left.

We have noted before that this rather neat depiction of the cloak or kaross does not seem to be naturalistic, but conventionalises the garment into a tidy, bell-shaped form. In Kalahari photographs of men wearing cloaks, there is seldom, if ever, this level of neatness. Cloaks are worn loosely and fall in irregular forms. We have to conclude that the cloak is depicted on these presumed male figures not to reflect photographic “reality” but to make some conventionalised point. We return to this later.
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In this detail the bow and bowstring are clearly visible, as are other less easily interpreted items of equipment. We have seen the long, round-ended object sticking out from the hunting bag at other sites, but cannot easily relate it to any historically recorded equipment yet.
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Note the repeated yellow cloak, which gives a somewhat regimented look to the figures. These people must have similar social identities. Note also the very shapely calves of the second figure from the left, the first of several with the yellow cloaks. We have already mentioned that there seem to lots of visual clues to the sex of painted human figures in the physical details of bodies. One of these is that shapely calves are almost always associated with male rather than female figures, using a penis or breasts as the key distinguishing feature. The repeated depiction of shapely calves in this line of cloaked figures supports the interpretation that they are men.

There are many other processions of cloaked (presumed) men in the western Cape, almost always showing them wearing a set of hunting equipment including hunting bag, quiver, bow and arrows. These seem to be intentionally associated with the cloak. This is a little surprising by Kalahari standards, because there the kaross is closely associated with women as an important item of collecting and carrying gear. In these paintings it seems to have a different significance, more likely associated with males. (Note, though, that these men never carry a drawn bow.) We need to learn the significance of cloaked, apparently male human figures.
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This site is quite accessible to visitors and, as a result, has suffered some damage. Someone has tried to break off one of the cloaked figures by inserting a lever into a small crack in the wall. They failed, but broke a small wedge of rock from the rock surface, badly damaging one figure. Some pit marks are also visible above the wedge damage, presumably the result of hammering on the rock surface. To the left, some scratch marks are clearly visible, where some visitor has marked another figure. Even tracing of the images can damage them. Look back at the close up of the equipment on the second figure from the left and notice the light pale marks around the edges of the shoulder bag, and some other edges. These are tracing marks, which remind us that any contact with the surface of the rock is to be avoided.

Ironically, there is another common feature of the western Cape rock art visible here, which may have been a device to reduce damage in the past. Below the human figures to the left of the damage is an amorphous red patch of paint. There are others in this site. Earlier researchers referred to these shapes as palettes, implying that they were stores of paint placed intentionally on the rock surface near to where they were needed. Such an idea has some support in that the colours used in paintings are often repeated in the “palettes”. We doubt this interpretation, partly because they are often painted on upright or overhanging surfaces which would not have been suitable as palettes. We have also noticed that many of them, including the one shown here, are smoothed by rubbing and regular touching. Our current view is that these were sanctioned touching spots, where the viewers could touch and thus access the power of paintings that must have had considerable potency. The toes of statues of saints in Medieval cathedrals are often almost completely worn away by the touching and kissing of the visiting faithful. The “palettes” may have served to prevent such erosion of the paintings of the Cederberg!
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This line of figures is unusual in that humans and animals seem to have been deliberately placed together. Between the two clear sets of human figures are at least two very faint sheep, all images facing left. From the way the ears, head and tail have been painted we can recognise these animals as the fat-tailed sheep that were herded by pastoralist Quena people at the Cape from at least as early as the 15th century. These people were the “hottentots” of the early records, though we now recognise that this was a term used derogatively. Archaeological excavations at cave and rock shelter sites from the western and southern Cape show that the earliest sheep bones appear at about 1800 to 2000 years ago. This means the paintings cannot be older than about 2000 years, but doesn’t tell us whether the herders or neighbouring hunters painted the images, nor whether the human figures are the owners or stealers of the animals.
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Toward the right hand side of this procession the figures become a little indistinct. Some very shapely calves are, however, easily visible. Further to the right the rock face becomes very rough and difficult to paint on. Smears of paint here do suggest that the line may have continued further to the right that we can now see, possibly, to have included two shapes to which we now turn.
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These naked, male figures are easy to miss near the entrance to the shelter. Like a lot of other images from the western Cape, and elsewhere in southern Africa, they raise the important issues of nakedness, maleness and weaponry. One at least, perhaps more, are not only naked but are shown with drawn bow and arrow in place. We know that human figures with drawn bows are always likely to be male, because they often have a penis. More of them probably had this detail when they were better preserved and none has breasts. Cloaked figures, such as the ones nearby at this site, never have drawn bows, but usually carry bows and arrows in the stored position in a hunting bag worn over the shoulder.

As we have said, there is, among Kalahari hunters and gatherers, a strong metaphorical relationship between the penis and the bow, as between sex and hunting. Conversations regularly intentionally confuse relations between a man and a woman with those between a man and his prey animal, particularly a large game animal such as the eland. This metaphorical relationship is clearly and frequently depicted in the rock art. As in many societies, San people seem to have been keen to specify and justify relations between men and women. Paintings, along with other expressive means, such as stories, participate in this phrasing of sexual politics.
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Quite obviously there is a procession of large figures at this site, but between them you will have seen smaller figures, some like the larger ones, some naked, at least one facing toward the viewer. One of these smaller figures, at the extreme right of this photograph, is the most plausible example of a therianthrope we will see on this journey. It gives us the opportunity to discuss this very important type of painting, but to expand our view we include some more examples from other western Cape sites. A therianthrope is a painting that appears to be part human, part animal. This is not an unusual concept; think of angels, mermaids, centaurs, werewolves, Donald Duck or almost any Gary Larson cartoon figure. It seems that in most cultural contexts people feel the need to explore and obscure the boundary between a person and an animal. Verbally, this is even more common; think of the office wolf, greedy pigs and stag parties. But why would southern African hunter-gatherers want to paint a therianthrope? We need to follow both strands of our approach, read the detail and learn the hunter-gatherer world view.

First we need to establish more clearly what we mean by a therianthrope. When is an image a therianthrope? In some cases the decision is fairly easy; a human figure with an animal head, like this one at Procession Shelter, is a therianthrope by anyone’s definition. So also is the reverse conflation, an animal figure with human legs, though this is often a little harder to gauge. But what is an image of a small bovid carrying a bow? Or a human figure with an oddly conventionalised prognathous facial profile? Tiny details added to a convincingly human or animal figure might test our definitions to the limit. Also, what kinds of animal species are involved? In the western Cape, we have convincing elephant-headed human figures, recognisable because of the distinctiveness of the elephant trunk. Others are less easy to diagnose, but most are game animals. There are no porcupine-, dassie-, tortoise- nor, of course, limpet-headed figures. So, the conflation is limited to certain kinds of animals.

The /Xam and ju’/hoansi records include several possible contexts for the conflation of human and animal, contexts that might have formed the basis for the therianthropes. The Bleek and Lloyd informants, for example, told a series of stories set in an earlier time about “people of the early race". This was the translation of a phrase that introduced these stories in much the same way “once upon a time” does in English tales, implying a different kind of world, a past world. And so it was. The characters act like people but appear to be animals. The chief actor is /kaggen, the mantis, who is married to the dassie. His sister is the blue crane, his adopted daughter the porcupine, his grandson the Egyptian mongoose. In all of these cases it is not clear whether the characters are people with animal names or animals that behave like people. They are therianthropic in the sense that they are conflations of animal and human, not chimaeras but genuine ‘cannot tells’. Mantises, birds, porcupines, small carnivores and dassies are extremely rare in western Cape rock paintings and do not seem to account for the animal components of therianthropic figures. We can surely discount this interesting possibility as an explanation for the therianthropes? In both Karoo and Kalahari social contexts, as in many others from around the world, ritual specialists are said to derive some of their powers from animal helpers. We can debate whether these men and women are appropriately called ‘shamans’, but the fact is they were people who often had special relationships to animals.
//kabbo, one of the most significant of the Bleek and Lloyd informants, and a sorcerer in Bleek’s daughter Dorothea’s words, was said to be a mantis’s man, “he had mantises”. Healers in the Kalahari harnessed a potency they called /num in order to draw out the sickness, whether social or physical, from the bodies of others. This /num resides in many things, including rain, honey, eland, certain plants and other phenomena. When possessed by /num, the men and women enter ‘another world of consciousness’, in which they can travel out of their body and perform a variety of ritual services for their community. We could argue that therianthropes are a visual representation of the fusion of healer/shaman/sorcerer with the source of potency. There are strong parallels between the death by poison of a game animal, such as an eland, and the entrance into trance of a shaman. Kalahari people call this entrance ‘death’. The suggestion that
rock paintings and engravings are largely informed by the experiences and activities of shamans, whilst in a state of altered consciousness, or the shamanistic orientation of southern African hunter gatherer society, is currently the most frequently cited explanation for rock art imagery. The therianthropes would appear to be strong support for this.

There is no doubt that many figures in the paintings of the Cederberg are depicted in ways that are intended to indicate people in an altered state. Small lines from the faces of human figures are convincingly interpreted as bleeding from the nose, a condition often associated with the trance state. Various kinds of geometric imagery, such as crenellations, zigzags and Spiral motifs, are certainly best interpreted as the kinds of visions people report from these altered states. And, the group scenes may well illustrate healing occasions with a dancer in trance. But to lump all conflations of people and animals into this same interpretative model is, surely, to ignore other contexts for blurring the distinction between people and animals, contexts that are well documented in the voluminous literature on southern African hunter-gatherers. We have discussed the “people of the early race”, but there are others. How can we distinguish between these contexts as explanations?

Recent ethnographic accounts of the Kalahari ju’/hoansi stress their constant use of verbal circumlocution and metaphor. Talk is almost always tangential and indirect, objects and animals referred to by agreed conventions. In the Bleek and Lloyd archive, this is exemplified by the practice of never referring to the lion by that name, but by use of a verbal circumlocution. This is almost a way of life, and becomes a substantial framework for playful, or occasionally more pointed, social comment. The most relevant metaphorical framework is that which intentionally confuses the relationship between a man and his wife with that between a man and his prey, specifically one of the large game animals, most often the eland. Megan Biesele has written extensively on this entrenched metaphor in her book “Women like Meat”, itself a play on words about a man’s two ‘meats’, wife and prey. In a variety of ways both men and women are seen as eland, not porcupines, nor dassies, nor, of course, limpets. At her first menstruation a girl is said to be fat like an eland and older women dance the eland bull dance. A young boy must kill an eland to become a man and husband, is scarified with markings that mimic and are referred to as the
markings on game animals. Men clothe their wives, and perhaps themselves, in eland skins. In each of these cases the eland might be replaced by a similar large game animal, but never by a small bovid nor other animal. People are always eland. The blurring of the gap between a person and some kinds of game animal is a constant feature of the lives southern African hunter-gatherers. People refer to themselves, to one another and to their roles as they graduate through their life histories in terms of an extended eland metaphor. Surely this is a persuasive context for many, If not most, therianthropic part bovid, part human figures?
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This figure and associated fine red lines illustrates the enormous skill of the rock we artists. Imagine trying to produce a fine red line on this rather coarse surface, and then painting another parallel one a mere 2 mm away! The person who painted this reclining human figure and then situated it among the sets of red lines had complete mastery of the liquidity of the paint, had developed a delivery system that produced enough, but not too much, paint, and was not at all discouraged by an uneven and difficult surface.

But what does the painting mean? The human figure is reclining with knees raised and appears to be holding something to her or his mouth with both hands. We informally think of this as a flute player, but it may be a musical bow that the figure is holding. It certainly gives the impression of relaxed but focussed music making. Of course, the red parallel lines are very much a part of the composition. Elsewhere in the western Cape we have noted that double parallel red lines have been used to depict things which may not be visible but have great potency, or sometimes visible things which are more than they might appear to be, more potent. They appear as lines “dripping” from bags or human figures, people walk on or manipulate them, and they connect figures in ways which were perhaps not literal. We assume here that the musician depicted was engaged in more than mere self entertainment.
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These are rather enigmatic human figures. There is no sign of the lower parts of the figures, and they clearly face forward. They are not hook-heads and the loss of detail hampers our attempts to explain them even though they are quite boldly painted.
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The sheep are obscured by plant growth and some precipitate that has covered much of both images. There may originally have been more sheep. Compositions showing sheep often place images above one another rather than simply putting them in long lines, presumably an attempt to reflect the mobbing of sheep in a flock.
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These three figures are not easy to sex, but appear to be slender like most clearly male images. Although placed in a line, they do not share a common baseline and are not identical in pose or equipment. The middle one carries two short sticks in one hand, reminiscent of other images, all male, who have this distinctive gear in neighbouring sites. Sticks are a common feature of all images in this line, though the positioning varies from figure to figure. No penis is visible, and it is possible that some figures are wearing a garment of some sort, to judge from the vertical paint lines down the front of one of the supposed men.
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There are two clear figures here and another may have been lost to the left. Like those on the right of the sheep, these resemble clearly male figures more than they do clearly female ones. Both figures carry sticks, probably in both hands, though the positioning is different. This stick carrying line resembles others we have seen near Clanwilliam, and confirms that we need to study closely the associations between sticks, gender, sheep and other conventional details.
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This very active figure is naked and fires a drawn bow. It is likely a male, though neither a penis or breasts are visible. The general slenderness and the pronounced use of the bow would seem to suggest this.
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This line of figures is unusual in that humans and animals seem to have been deliberately placed together. Between the two clear sets of human figures are at least two very faint sheep, all images facing left. From the way the ears, head and tail have been painted we can recognise these animals as the fat-tailed sheep that were herded by pastoralist Quena people at the Cape from at least as early as the 15th century. These people were the “hottentots” of the early records, though we now recognise that this was a term used derogatively. Archaeological excavations at cave and rock shelter sites from the western and southern Cape show that the earliest sheep bones appear at about 1800 to 2000 years ago. This means the paintings cannot be older than about 2000 years, but doesn’t tell us whether the herders or neighbouring hunters painted the images, nor whether the human figures are the owners or stealers of the animals.
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This is a fairly typical Western Cape painting panel, with lots of human figures, many of them painted in lines or processions. Most are in red, and we can be fairly sure that there were details in white or yellow which have not survived. The shades of red and yellow are made from ochre or other iron-rich pigments which survive well, as does black pigment made from manganese mineral. The white, which is made from a white clay seems to sit more superficially on the rock face and disappears long before the red. Red, yellow, black and white pigments would have been mixed with a binder, probably fat, blood or some plant substance, to give the necessary liquidity. The binder, being organic, decayed quickly, whilst the inorganic pigment lasted much longer to become the image we recognise as a painting. Look closely at some of these figures, especially those at the right hand side, and you will see that a common convention is to paint the head as a hook and to put a paler colour, white or yellow, inside the hook to form the face. Only the red survives here. We refer to these as hook heads. Because of the reference to a darker hair and paler face, they make the point that the conventions used by the painters are closely modelled on reality, but adapted and simplified to become easily recognisable conventions.

Other figures toward the left do not have the hook head convention but originally had faces in a paler colour on red necks. We are not yet sure what the hook head convention might mean, but we can see that it does distinguish between different kinds of human figures. You will also have noticed that most of these figures face to the right. We will talk about the patterns of right- and left-facing figures when we discuss the paintings at the next few sites. What we need to establish here is that many of the painting conventions used carry meaning or meanings which allowed the viewers of the past to read them intelligibly. As outsiders, we need to learn to read them. The /Xam from the Karoo and the ju’/hoansi from the Kalahari will help us do that.
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The sheep are obscured by plant growth and some precipitate that has covered much of both images. There may originally have been more sheep. Compositions showing sheep often place images above one another rather than simply putting them in long lines, presumably an attempt to reflect the mobbing of sheep in a flock.
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Looking down from the rocky ledges, the five rooms of the house are more or less visible, though the mud brick separating walls have all fallen down. The room at the east end was the kitchen with a prominent chimney. When the building was abandoned all wooden roof, door and window parts were removed, leaving the stone structure in a somewhat precarious condition. We do not know whether the roofing was completely removed or simply allowed to fall and decay.
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There are two clear figures here and another may have been lost to the left. Like those on the right of the sheep, these resemble clearly male figures more than they do clearly female ones. Both figures carry sticks, probably in both hands, though the positioning is different. This stick carrying line resembles others we have seen near Clanwilliam, and confirms that we need to study closely the associations between sticks, gender, sheep and other conventional details.
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This very active figure is naked and fires a drawn bow. It is likely a male, though neither a penis or breasts are visible. The general slenderness and the pronounced use of the bow would seem to suggest this.
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These three figures are not easy to sex, but appear to be slender like most clearly male images. Although placed in a line, they do not share a common baseline and are not identical in pose or equipment. The middle one carries two short sticks in one hand, reminiscent of other images, all male, who have this distinctive gear in neighbouring sites. Sticks are a common feature of all images in this line, though the positioning varies from figure to figure. No penis is visible, and it is possible that some figures are wearing a garment of some sort, to judge from the vertical paint lines down the front of one of the supposed men.
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The hand prints in this cave are very small and must have been made by young children. We have measured thousands of hand prints and compared them with the hand sizes of several groups of living people. Although hand prints are variable in size, there is a very strong modal size, which must reflect the most prevalent age group of print makers. Most of the hand prints were made by young people, not children but certainly not adults. We have also noticed that hand prints often occur in fairly large numbers in specific caves. These observations, along with the strong pattern that hand prints are very repetitive, almost always red, have led us to suggest that hand prints were made as part of initiation rituals when groups of young men or women visited specific sites to leave their hand prints as a sign of belonging. So far we have not been able to distinguish reliably between the prints of men and women.

We have also noticed that whenever hand prints are involved in super positioning the hand prints are always on top of fine line images of animals or humans, never the reverse. They are obviously later. We have concluded that the practice of putting hand prints on cave walls as an integral part of initiation rituals was one that post-dated most painting in the Western Cape. It may have happened after the appearance of herders, because we do have fine line images of fat tailed sheep. Interestingly, we have no fine line paintings of cattle, and we know that cattle were introduced about 500 years after sheep, about 1400 years ago. This may mean that the fine line tradition was replaced by the hand printing tradition here between 1900 and 1400 years ago.

This temporal link between the appearance of herding and a strong shift from fine line image making to hand printing, raise the question of who made the prints. Some archaeologists believe it was probably the herders themselves, whilst others believe the prints are the work of residual hunter gatherers living on the fringes of herder society. The truth is we cannot be sure. Given the known and long-standing interest in caves and rock shelters by hunter gatherers, we are inclined to support the latter view. We can be sure that the circumstances of making hand prints and the symbolic and metaphorical significance of the images changed dramatically. We need to work on the task of learning to recognise herders in the fine line images, as they are surely there. How were they depicted?
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The chimney is still in excellent condition, despite being an essentially mud brick construction on a stone base. Most kitchen refuse was simply dumped over the cliff ledge a few metres from the eastern end of the house, between it and the river terrace. We have excavated and recovered some of this valuable archaeological record.
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The careful stonework is very clear in this view along the north face of the structure.
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This view and the internal panorama give a good impression of the careful stonework. We can see from some surviving traces that the internal walls were carefully plastered too.
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What you see here are bags, bows and arrows arranged above a series of hook headed human figures. The black edges and blotches are communities of plant lichens that have colonised the organic materials in the paint, taking the form of the image below. At the top right some arrows are clearly shown in two colours, black near the tips and mustard yellow lower down. These arrows are placed in a tapering bag which fits the Kalahari description of a man’s leather hunting bag. He would keep his bow, arrows, quiver and other gear in such a bag. Other bags resemble the rounder, leather collecting bags used by women to gather plant foods. The strap handles and dangling tassels of the bags are visible. Several people are grouped together below this equipment and some, at least, are sitting.

You have probably noticed that most animal and human figures in southern African rock art are depicted in side view and many are presented in lines facing either right or left. Although it might not have been the primary intent, this has the singular advantage, in the case of animals, of showing them in their most distinguishable, least ambiguous form. Profiles allow the artist to show distinctive aspects of body and horns so that, in many cases, the species is identifiable. For humans too, a side profile allows the distinctive sexual reference points of penis and breasts to be rendered clearly. Its not quite that simple, of course, because the artists allowed themselves the liberty of mixing perspective in a single image so as to complete the figure whilst maintaining legibility. We refer to this again at the next site.

The figures shown here are an exception to the common procession theme, and are an example of a kind of painting repeatedly found in the shelters of the western Cape.

Unlike processions, there is no attempt here to give the composition any directionality, but rather a static effect is created by the huddling of seated figures. We call these paintings ‘group scenes’ and suggest that they depict small gatherings of people sitting underneath a set of equipment, which is apparently hanging from wooden pegs. Bows, arrows and bags are shown here. In other examples from the region the pegs themselves are painted. We have found wooden pegs still inserted in wall cracks in many rock shelters and caves in the western Cape, and so assume that the sitting people are to be read as under a rock overhang. The groups are painted “at home”, but why? Often there is a single standing or, perhaps, dancing figure among the sitters, and some of the sitters clap. Men and women are shown, and the equipment often shows bags that both men and women would have used. Referring more explicitly to the Kalahari, we note that healing dances there are held in the domestic camp, that all group members should attend and that these are important social as well as healing occasions. It is very likely that these “group scenes” depict healing dances held in or just in front of a domestic rock shelter.
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There are at least two human figures here, facing left, but we draw your attention to the right hand one. You will see many male figures in these paintings armed with the bow, quiver and arrows, but this is a rare example of a woman carrying a weighted digging stick. Between the two hands holding the stick you will see a small circular painted form which we take to be the digging stick weight in place. Among southern African hunter gatherers, men are strongly associated with the bow and arrow, which is used as a signifier of their sexual identity and prowess. A man rarely leaves camp without his hunting equipment, which partly reflects the practical need to be always ready to give chase to game. Women collect plant foods, using a wooden digging stick weighted with a round perforated stone to give extra force to the digging action. The imbalance between paintings showing men and women with their habitual equipment is a clear signal that paintings had symbolic rather than simply narrative intent. As we proceed we should pursue the symbolic nature of hunting and hunting gear, and its demonstrable emphasis in paintings compared with gathering gear. But first, how do we know this is a woman?

The problem of sexing human figures in the rock art of southern Africa is a very difficult one, not least because the images are residual and much detail has been lost over the years. Our approach has been to use the visible presence of a penis or breasts as the primary indications of sex. In the right hand figure there are, arguably, breasts painted below the hands. Almost no figures have both of these features, but many have neither and have been recorded as indeterminate. Many figures have cloaks that would have obscured either a penis or breasts; these too are recorded as indeterminate. Over the years, though, we have come to believe we can sex figures without the penis or breasts, but by recognising physiological or physical details that the artists have used to denote sex. These conventions, no doubt, were also based on real body characteristics and probably manifested themselves in everyday speech too. The ways in which calves, thighs, buttocks and waists are painted is closely correlated with the distinction between figures with a penis or breasts. Men, for example, have far more shapely calves than women, whereas women have more substantial thighs and buttocks.

We can extrapolate from the clearly sexed figures to ones that share these conventional details. In addition we have learnt that figures carrying, wielding or using bows are very rarely female, that males and females are depicted sitting in very different ways and that human figures in lines are almost always of the same sex. Based on the confidence of these observations, we are now prepared to sex far more figures than those with a penis or breasts.
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This is another example of the group scene described earlier, but not as well preserved. A bag and a bow complete with bowstring are clearly visible, as are two or more human figures below. The leg positions show that people are not moving but sitting. The patterning of these kinds of “scenes” underlines the potential for learning the conventions of the painters by recognising repetitive juxtapositions and associations, and so extending our ability to read the intentions of the painters. Remember, though, we need to formulate our growing understanding by situating it in the lifestyle and world view of hunters and gatherers.
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Here is both visual and graphic imagery; the writing reads “Jakobus Brand, 1910”. This confirms the contemporaneity of these paintings and the occupation of the farmhouse, less than a kilometre away. One of the interesting points about these colonial images is that they were made with some care and are not easily referred to as graffiti. They are all red and include the human figures, some writing and some animals that appear all to be domesticated beasts, oxen and horses. The paint is different from that of the fine line images we assume to be all pre-colonial, but may also have been made from local ochreous pigment, perhaps mixed with water rather than animal fat. There are some enigmatic details that we still need to learn to read. We are not sure what the enclosing lines are, for example, nor can we say what some of the semi-geometric images mean.
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A feature of this site is the fact that some paintings are clearly not pre-colonial, and may well have been painted by people living at the ruined farmhouse nearby. These two human figures, for example, have some details we never see in the fine line images at other painted sites. A moustache, a brimmed hat and boots link these images broadly to lots of others in the Western Cape that must have been painted either by colonial farmers or by farm labourers. We have virtually no literature to help us understand such image making, but we can see that many male human figures are painted either with hands on hips or with hands in pockets, an interesting pose, suggesting a somewhat lazy state of mind.
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This is the longest line of figures in the shelter, but like the others rather faint. There are at least 13 figures all facing left, and all, apparently clothed in cloaks or karosses. It is hard to know whether they are men or women but the fine calves on the first figure and the generally slender builds lead us to suggest they are men.
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This is the remaining lower part of a line of at least 5 human figures, probably women, facing left. The assumption that they were once clearly women comes from the heavy set legs and rather bulky, somewhat shapeless calves. Without intending to be insensitive, these are the characteristics of human figures with breasts.
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The second sheep is even less visible than the first, but from the details was certainly painted by the same artist and probably at the same time as the first. As elsewhere the animals are placed above one another as if in registers. There may originally have been more of them.
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The two sheep here are painted in red but are very faint. They face right. Like all other sheep in the paintings of the Western Cape, the floppy ears falling either side of the head are very distinctive. These would probably have been the fat-tailed sheep herded by the Quena at the Cape from at least as early as the 14th century, but here the tails are not discernible.
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Among other images here are two absolutely classic Western Cape eland torsos. The red shapes are the bodies of eland, in which the lower legs, belly outline, neck and head would have been rendered in a more fugitive white paint. We discuss the eland in more detail at the next site.
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Despite what we have claimed about the differences between male and female figures, the figure here at River Shelter is still somewhat ambiguous, though in our opinion female. The thighs and legs appear heavy and there may be two breasts below the stick on the left side of the torso. This reminds us that all commentaries on the paintings are dependant on some or other reading of what is depicted. Since none of the representations is strictly naturalistic, many are open to different interpretations. Are the breasts breasts, or could one be an arm and the other the lower end of the stick? But if the latter, what is the higher feature that appears to be an arm holding a stick? On balance we read the two appendages as breasts and, thus, the figure as female.
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These four small animals, probably small bovids, are very difficult to see, partly because almost all of the paint has peeled off the rock surface leaving little more than a ghost of the original images. They appear to have been painted in white with red details on top of the white base. When the white paint came away from the surface it brought most of the red with it. It is now impossible to tell whether the red paint formed a pattern on the white, but it may have done so. The animals are placed not unlike the arrangements of fat-tailed sheep, rather than in a line, and it is possible they were sheep rather than wild bovids, but the ears and the generally slender build make this very unlikely.
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Compare the lower limbs of this line of human figures with the ones we have just described as women. In this line there are five figures, again facing left, each carrying a stick in the forward position and wearing a tasselled bag over one shoulder. Again there are no clear breasts or penises, and we would be obliged to classify these as indeterminate sex. The slender aspect of the legs, thighs and buttocks might suggest they are men, but the stick holding posture is reminiscent of some lines of women. The figure furthest to the left has two appendages from the upper torso that might well be breasts. This procession remains enigmatic. The question is: was it meant to be ambiguous or has poor preservation rendered it so?

This raises a very important issue. Men and women are often painted unambiguously with prominent penis or breasts, painted naked when men and women rarely appear in public so scantily clad in the Kalahari. Women expose the breasts regularly, but the buttocks only on specific, deliberately erotic, occasions. Men do not hunt and dance naked. We have to conclude that the nakedness is a device to make some or other point. The near complete absence of human figures with both penis and breasts seems to mean that correct and unambiguous recognition of the sex of a figure by the viewer was an important issue. We return to it when we discuss other images later.
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This is another enigmatic stick-carrying human figure. Below the right hand end of the stick are two shapes that might be breasts, though this is unclear. The calves are shapely and the figure slender, suggesting a male. We cannot be definitive, but wonder whether this is because of the poor preservation of details or an inherent ambiguity. We note that these ambiguities only
emerge on poorly preserved images, never on ones with full manifestation of colour and resolution. This leads us to suggest that there was no intention to confuse, merely a loss of detail over the millennia. Other archaeologists disagree and argue that there was some intended sexual ambiguity about human figures. We can often see some ambiguity between human and animal in some images, but almost never between male and female.
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These two red shapes are eland torsos; parts of probably bichrome images, from which most of the white paint has disappeared. Very characteristically for the Western Cape, the torso is red and the neck, face, belly and lower legs would have been white. Some of the white paint is still visible on the belly and neck of the upper eland. The red line of the neck is also clear. These two animals once would have been very striking, perhaps similar to these ones from Zimri’s Shelter not far away.
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Hand prints often form small clouds or lines, which probably means they were done in sets over short time intervals. Initiation events fit this scenario very well.
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This is an unusual group of human figures, painted in very active poses.
### Title window_1CD4F8F7_3D64_9D87_41C0_E9A6C9383BE0.title = Warmhoek Rock Art Trail window_2955FB76_07A1_8DEF_4178_63C121672118.title = 2 - A woman carrying a weighted digging stick window_295C01DD_07A2_BCDD_416D_2D1792C2A020.title = 1 - A panel of human figures window_2998FF64_07A2_85E3_4171_E4BF462FF552.title = 3 - A group of human figures sitting below some bags, bows and arrows window_29EE137F_07A7_9DDD_4193_161DB486AC7C.title = 4 - Another group of humans below bags window_300006A8_07A2_8763_4186_CD14542676FC.title = 5 - Human figure, probably male, with a bow window_301ACF8F_07A2_853D_4194_BCFA5F86BD2F.title = 2 – The remains of a procession – only the legs are visible window_305CD113_07BF_BD25_4191_23725DE43652.title = 2 - Hand prints and human figures window_3061980F_07A1_8B3D_4198_3EC1E9EE085F.title = 5 - Human figure, probably male, with a bow window_30D4C9EC_07A1_8CE3_4191_EAE17AEB22D4.title = 9 - Three naked male figures window_30D6BB5D_07A2_8DDC_4197_760518242F9B.title = 3 - The right hand side of the procession window_30FB0ECA_07A6_8727_418C_F299252908CB.title = 6 - The second sheep, very faint window_310BCF2D_07A2_857D_4198_886A0ECA1808.title = 7 - The right hand side of the procession window_311FE084_07A3_9B23_4189_1E0617BB12A0.title = 5 - A close up of several kinds of damage to the paintings window_313DBEC1_07A1_8725_4194_21831F28A757.title = 5 - The first of two sheep window_32039123_07BF_9D65_4163_36627EA0BAC8.title = 1 - Two eland torsos window_3227EB3F_07A1_8D5D_4188_325670FC842D.title = 2 - Two sheep window_323EB862_07A1_8BE7_417B_5E3643A57599.title = 8 - Two very faint eland torsos window_324C0557_07A2_852D_4198_1B558F48CFE9.title = 4 - The left hand side of the procession window_326B10CB_07A2_7B25_4195_9CB22EE6A061.title = 6 - The middle part of the procession window_326C0579_07A1_85E5_4199_8B3ED62E1A80.title = 4 - The left hand side of the procession window_32ABE102_07A2_BD27_4199_754ADD6EAF66.title = 4 - A line of human figures, perhaps a dance window_32AE109E_07A2_7B5F_4172_DA0EE046046F.title = 1 - An overview of the long line of human figures window_32B73964_07A2_8DE3_417E_A1AB7D83217E.title = 3 - A detail of bag, bow and other equipment window_32F95EA0_07A2_8763_418A_42DC403E138A.title = 2 - Two sheep window_3306F991_07A2_8D25_4163_F4A392B04A62.title = 2 – A close up of the two leftmost figures in the procession window_331C0C5B_07BF_8B24_4192_30502A14A470.title = 3 - Group of active human figures window_332BC031_07A3_BB65_4120_B799D0A3FCEC.title = 4 - The left hand side of the procession window_3332C3D6_07BE_9D2F_4196_DC85EF4298F0.title = 4 - Close up of some of the hand prints window_33927243_07A6_9F25_4196_0C98E0685DEE.title = 7 - Four small animals in white and red window_34307E9C_07A6_8723_4190_7E554F903C2A.title = 5 - Clear humans facing forward window_34B0358C_07A1_8523_4181_06C32335FCF4.title = 6 - Two colonial human figures window_354DFF45_07BE_852D_4196_1B7823B911DE.title = 5 - A ‘man’ with a stick window_35E2DAFE_8D19_3866_41E0_C3FFBD4DAB22.title = 3 - Another procession of humans and bags - possibly men window_35E70A47_07A2_8F2D_417A_592BC461534C.title = 1 - A procession of humans and at least two sheep window_35E97C4E_07A2_8B3F_4197_3EFA94B75122.title = 3 - The right hand side of the procession window_35FF7A14_07A1_8F23_4176_858D58DEB5C5.title = 1 - A procession of humans and at least two sheep window_375071F8_07A3_9CE3_4196_3161C7EB2AA0.title = 7 - A panel of colonial images window_3EBA6375_07A6_7DED_418C_7F387C74A551.title = 10 - A human figure reclining window_3EC7A42C_07A6_9B63_416A_B65A904F8CF4.title = 8 - Two eland torsos window_7ADC3B8D_8B0B_58A5_41CD_443E28DE3DB2.title = 1 - A ‘stick’ figure, probably a woman carrying a digging stick window_87CE38B5_8B19_38FA_41CF_12843140B85E.title = 1 - View into the ruined building from the rocks to the west window_87CE697A_8B19_586E_41C7_F295E65B6119.title = 2 - The front facade of the farm building window_87CE9EB8_8B19_F8EB_41B4_76DF546B67F3.title = 3 - The chimney on the kitchen wall window_87CEC12B_8B19_49ED_41D0_42ACBEFACE7A.title = 4 - Looking through the window toward the chimney in the east ## Hotspot ### Tooltip HotspotMapOverlayArea_5C8E9BC9_4ED2_3A7C_419D_D12C94719045.toolTip = Historic shelter HotspotMapOverlayArea_C89228FB_EFF3_3089_41E5_53CE492A4642.toolTip = Procession shelter HotspotMapOverlayArea_C8E7334B_EFF3_1189_41C3_F824985141B7.toolTip = River shelter HotspotMapOverlayArea_C926D033_EFF1_2F99_41E2_A89D50196094.toolTip = Historic shelter HotspotMapOverlayArea_C9E57627_EFF1_13BA_41E0_84356583F516.toolTip = Ruin HotspotMapOverlayArea_CEC8101B_EFF3_2F89_41E4_729AE5EA0F60.toolTip = Aerial panorama HotspotMapOverlayArea_CF6AB828_EFF3_1FB7_41C2_4AAA40EC14CA.toolTip = Candle cave HotspotMapOverlayArea_CF91C325_EFF3_F1B9_41CD_47EF9564F0BB.toolTip = Sheep shelter \ HotspotPanoramaOverlayArea_E858D1F8_FB2B_9622_41D7_858F09377C5E.toolTip = \ HotspotPanoramaOverlayArea_E9153069_FB2B_9622_41EB_6BA9E4CCD136.toolTip = \ HotspotPanoramaOverlayArea_E918E04B_FB2B_9666_41EF_2F63E7CDB2E5.toolTip = \ HotspotPanoramaOverlayArea_E92CA02A_FB2B_9626_41DE_BD78F55D4098.toolTip = \ HotspotPanoramaOverlayArea_E95B20CF_FB2B_967F_41E1_386D1D0F8237.toolTip = \