MALLERY. ] IN SOUTH AFRICA. 181 
themselves, various classes may be distinguished, but in all cases the subjects are 
representations of figures; ornaments and plants are excluded. First of all, there 
are fights and hunting scenes, in which white men (boers) play a part, demonstrating 
the modern origin of these paintings. Next there are representations of animals, 
both of domestic animals (cattle, dogs) and of game, especially the various antelope 
species, giraffes, ostriches, elephants, rhinoceroses, monkeys, ete. A special class 
consists of representations of obscene nature, and, by way of exception, there has 
been drawn in one instance a ship or a palm tree. 
Dr. Emil Holub (a) says: 
The Bushmen, who are regarded as the lowest type of Africans, in one thing excel 
all the other South African tribes whose acquaintance I made between the south 
coast and 10° south latitude. They draw heads of gazelles, elephants, and hippo- 
potami astonishingly well. They sketch them in their caves and paint them with 
ochre or chisel them out in rocks with stone implements, and on the tops of moun- 
tains we may see representations of all the animals which have lived in those parts 
in former times. In many spots where hippopotami are now unknown I found beau- 
tiful sketches of these animals, and in some cases fights between other native races 
and Bushmen are represented. 
G. Weitzecker (a) gives a report of a large painting, in a cave at 
Thaba Phatsoua district of Léribé, here presented as Fig. 142, contain- 
ing eighteen characters, with the addition of eight boys’ heads. It 
represents the flight of Bushman women before some Zulu Kaffirs 
(Matebele). The description, translated, is as follows: 
As usual, the Bushmen are represented as dwarts and painted in bright color as 
contrasted with the Kaffirs, who are painted large and of dark color. The scene is 
full of life, a true artistic conception, and in the details there are many important 
things to be noted. For this reason I add asketch of it, with the figures numbered, 
in order to be able to send you some brief annotations. 
I will premise that as far as the women are concerned, in the small figures, no 
mistaken notion should be entertained in regard to the anterior appendages which 
catch, or rather strike, the eye in some of them. There is question simply of the pu- 
dendal coverings of the Bushman women, consisting of a strip of skin, and flapping 
in the wind. 
«@ seews to represent a woman in an advanced interesting condition, who in her 
headlong flight has lost even her mantle. She holds in her hand a mogope (dispro- 
portionate); that is to say, a gourd dipper, such as are found, I believe, among all 
the south African tribes. 
b. This figure, besides the mogope which she holds in her left hand, carries away 
in her flight, steadying it on her head with her right hand, a nkho (sesuto), a baked 
earthenware vessel, in which drinks are kept, and of which the ethnographic mu- 
seum now contains some specimens. This woman, too, has lost all her clothing 
except the pudendal covering, and she looks pregnant. The attitudes of flight, 
while maintaining equilibrium, I deem very fine. 
ce, f, g, h, 1, m, and perhaps j7. Women carrying their babies on their backs, as is 
the practice of the natives, in the so-called thar; that is,a sheepskin so prepared 
that they can fasten it to their bodies and hold it secure, even while bent to the 
ground or running. 
land m. Women with twins. It may be worthy of note that the painter has 
placed them last, hampered as they are with a double weight. 
c. Apparently a woman who has fallen in her flight. Figures e and i represent 
men, who by their stature might be thought to be Bushmen, as also by their color, 
which, so far as I remember, is not the same as that of the men coming up after 
them, being rather similar to that of the women. In that case e would stoop to raise 
