Born on the 9th December 1906 in Paarl; in 1982 in Pinelands, Cape Town. Pianist, organist and choral director.Hannes Uys had musical parents. His mother (nee Malan) played the piano and sang, and his father was cornet player in the village band of Rocco de Villiers. The boy’s talent was developed by Thomas Baker at his Rational School of Music (piano and double bass), also by Karl Metzler (violin) and A.C. van Velden (organ), and quite soon he could play in public. When he left school he worked for the Roads Department but continued his music studies under Claude Brown (organ: 1926-1935), Anna Marsh (piano: until 1929) and Clara Hodgson (piano: until 1939). During the War he took piano lessons with Eric Grant, the principal of the College of Music. After leaving the Roads Department he entered the accountant’s office of the Provincial Administration, but he also taught music, preparing eleven licentiates for their examinations. In 1928 he became church organist, at first in Sea Point, where he stayed until 1944, and then in the Groote Kerk (1944-1954) and Rondebosch (1954-1982), a total service exceeding fifty years. Uys thus had two professions – that of an accountant and of a musician, but from 1962 to 1972 he devoted himself exclusively to music and taught at the Groote Schuur High School. For this school he composed his operetta, Die skat van Heuwelkruin. After his retirement he continued to act as locum tenens at schools in the Peninsula, but he has retained his organ post in a full-time capacity.

When he was the organist of the Groote Kerk, he introduced in 1944 the custom of annual Christmas programmes featuring his church choir and soloists. These grew to include works by Schutz, Buxtehude, Bach, Mozart, Handel and Mendelssohn. In 1953, when Albert Coates was his instructor in choral direction, a children’s choir was becoming detached from the parent choir. Initially, as long as church services were paramount, the latter group concentrated on sacred music, but when they advanced to secular concerts, variety of programme became necessary, and Uys then arranged European folk tunes, Afrikaans picnic songs and Malay ghomma songs in three or four parts for their programmes. Through their concerts and radio broadcasts the choir became widely known and the British EMI company produced long-playing records of their singing. It dissolved in 1963, but by then they had promoted a new choral tradition in South Africa.

In 1939 Uys met the German pianist, Helga Bassel, then on a second visit to her brother in Cape Town. The two artists formed a duet for two pianos and soon advanced to the vanguard of concert life through concert tours, appearances with orchestras in Cape Town, Durban and Johannesburg, and radio broadcasts. They were married in 1943 and in 1948 featured as a two-piano duet in the first Afrikaans musical to be filmed, Kom saam vanaand. Two talented children were born of their marriage: Pieter-Dirk who has achieved prominence in the theatre, and Theresa Hannelore (Tessa) who has become a distinguished concert pianist.

The three centuries of musical history in South Africa may conveniently be divided into two clearly distinguishable periods: that dating from 1652 to 1800 and from 1800 to the present day. Search our Music Personalities now.

The music of the first period is of a decidedly functional character, while that of the second period aimed, in addition, at entertainment and diversion. Music in the early days of the settlement in Table Bay was, in effect, performed in accordance with regulations prescribed by the Dutch East India Company to be observed at all its factories between the Cape and the Dutch East Indies.

These regulations were intended to impart a certain orderly formality to routine military functions at the Fort and even to the observance of the daily religious exercises. Since military exercises were mainly open-air affairs, the military musicians sounded their signal calls and their music on brass and percussion instruments such as the trumpet, hautboy or oboe, flute and drums. This was later de rigueur at the funerals of high Company officials and members of their families, when the cortege moved in solemn procession to church to the slow measure of a funeral march and the muffled sound of crape-draped drums. Signal calls were also provided on the arrival of high-ranking Dutch and foreign visitors, and light music featured at the daily luncheon presided over by the Governor in the presence of his family and, possibly, guests. During the 18th century the military provided the indispensable dance music, with the approval of the Governor, on merry occasions outside the Castle, such as weddings. In later years several burghers assembled their own slave musicians to provide music at dinners and dances, a custom which prevailed until the early 19th century. These slaves, and later freemen, who could not read a bar of music, were sometimes adept at playing their woodwind and stringed instruments, and they regularly performed in the numerous sailors’ taverns throughout the growing seaport.

J.S. de Villiers aka Jan Orrelis

The Company made a point of providing every employee in its service on the outward voyage with a Psalter containing the Psalms in the translation by Petrus Dathenus. Moreover, the schoolmasters had to be versed in church singing so as to give their pupils regular practice. Other devotional songs, including some in German brought out by German servants of the Company, were also sung at family gatherings. At first the hymns were sung unaccompanied, as was also customary during the greater part of the 17th century in the mother country; but after the Groote Kerk had acquired an organ in 1737 an organist was appointed to accompany the singing of psalms at public worship. The first South African-born organist was Nicolaas Godfried Heyns (1725-92). The Lutheran church in Strand Street acquired a small organ shortly after its consecration in 1774, and a larger one was substituted four years later. Early in 1781 the trumpeter August Hendrik Heyne was appointed as the first organist. Already in those years there was in Cape Town an organ-builder, Johan Ludewig Hodderson, who constructed the first organ for the Paarl church. Stellenbosch had a church organ from 1801.

Chamber music, performed on the harpsichord, violin, flute or harp, was considered an educational accomplishment in the circles in which high Company officials moved in the Netherlands, and this was also the usage at the Cape. Children in such families were taught by ‘music instructors’. Especially toward the end of this period the singing and harpsichord playing accomplishments of the Cape damsels compelled the admiration of visitors from abroad as much as the manner of their performance of social dances such as the allemande, the minuet and the quadrille. Shortly before 1800 subscription concerts were mooted, but this idea was not developed until after the turn of the century.

After 1800

At the beginning of the second period, which roughly coincides with the final substitution of British for Dutch rule (1806), Cape Town was still the only town where a varied expression of musicality was possible. The presence of the garrison enabled one or two military bands to make an active contribution to the musical life of the town. They used to combine with music-lovers from among the Dutch citizenry under a bandmaster or a civilian music master to perform at stage presentations and musicales. The erection of the African Theatre on the Boereplein (now Riebeek Square ) in 1801 opened up possibilities for musical performances on a more ambitious scale, while chamber concerts retained their popularity. Music-masters such as Carl Christoph Pabst, Johann Christoph Schrumpf and Frederik Carl Lemming conducted at orchestral performances. Pabst started a ‘school of music’ in 1802, with the object mainly of training violinists for his orchestra. Schrumpf and Lemming gave orchestral performances of the works of Mozart, Haydn, G. B. Viotti, J. L. Dussek and others, and also performed as soloists. The outstanding personality here was the versatile musician F. C. Lemming (1782-1846) from Denmark, who between 1805 and 1817 dominated the musical scene to an ever-increasing extent, both as a performer and as a creative artist. He is the first composer in South Africa of real importance. Among his works were three ballets in three acts; two of the ballets were designed by C. E. Boniface, a Frenchman who settled at the Cape in 1807 and also provided two of the librettos, for sung parts were included in these ‘ballets’. By profession a journalist and sworn translator, this man of letters, with his Spanish guitar and his songs written for theatrical performances, enlivened the local musical scene. In 1827 he established the first music lending library at the Cape.

William Pickerell

It appears that from the beginning of the 19th century the combination of stage presentations and music in all forms was exceptionally popular with Capetonians, notwithstanding the ineffective means of Le Baiser de Céline, a romance, as it was known (with guitar accompaniment) at the Cape about 1835. (Image: Pickerill, William)

During the first decade a remarkable variety of English comic operas, French operas comiques and German and Dutch plays with music were put on at the African Theatre, the garrison theatre and the theatre in what is now St. George’s Street, by local as well as visiting (French) companies. These included the works of renowned composers such as Andre Gretry and Etienne Mehul and later – during the thirties – of François Philidor, François Boieldieu and even Weber, whose romantic opera Der Freischutz was produced by a group of amateurs in 1831. Several musicians, including the organists of the Groote Kerk, the Lutheran church in Strand Street and later also St. George’s Cathedral, taught the playing of musical instruments; some of them spoke of their own school of music.

William Sammons

The growing demand for instruments as well as sheet music was met by a special music shop (that of E. K. Green) which was established in 1814. In 1826 Green joined Frederick Logier (1801-67) in starting a musical academy for teaching by the Bernhard Logier method. This method, then in vogue in Britain and Germany, for several years proved very successful in Cape Town. Ample opportunity for family sing-songs was created by the publication of albums containing printed texts by J. Suasso de Lima (1826) and J. J. de Kock (1836). These supplemented the old hand-written ‘liedeboeken’ or song-books. During the second and third decades a number of musical societies (among them Harmonie en Eendragt, De Vriendschap, De Getrouwheid) concentrated on rendering instrumental and vocal music on the occasion of theatricals, the laying of foundation-stones, church anniversaries, synods, etc. A musician who rendered exceptional service in this way was Ludwig Heinrich Beil (1794-1852), who was conversant with the new oversea tendencies in teaching community singing. During the forties the English-speaking section began to render a decidedly greater contribution to musical activity. In 1844 Frederick Gladstanes started a choral society, and in the same year the new Amateur Musical Society, strengthened by military wood-wind and brass under Robert Medhurst, gave its first concert in the Commercial Exchange. His repertoire shows a marked preference for Haydn, Mozart and the contemporary Rossini. Foreign musicians traveling via the Cape appeared as soloists in the Exchange; and the 20-yearold Jan Stephanus de Villiers (1827-1902) of Paarl (Jan Orrelis) made his debut there in 1847 with a rendering of one of his own compositions, a set of pianoforte variations. In that year he was appointed organist to the Dutch Reformed church at Paarl, which under his leadership became a centre of musical life. Other towns, such as Stellenbosch and Port Elizabeth, and especially the garrison towns of Grahamstown and Pietermaritzburg, developed their musical life from modest beginnings. The first musical criticism of any consequence, written by W. L. Summons, began to appear in these years in his own Cape weekly, Sam Sly’s African Journal.

Frederick W. Jannasch 1853 - 1930

Outside Cape Town and a few smaller centres, music still largely served the same purpose as in the first period. Several country churches acquired organs for accompanying devotional singing – which after Jan. 1814 included the ‘Evangelische Gezangen’. The organist retained the custom observed at that time in churches in the Netherlands of interspersing the tune with a few extraneous bars following each line of the hymn. In the course of the century the introduction of these new hymns gave rise to ecclesiastical dissensions, but this had no bearing on the tunes. The psalm tunes, in an antiquated church modus, did sometimes occasion differences, as they presented difficulties to 19th-century church singers. Logier’s attempt, in 1856, to transpose these melodies into the major and minor keys then in vogue, failed. Neither resolution of the various synods nor commissions to Jan Steph. de Villiers (and later also Rocco de Villiers) brought about any generally satisfactory development. During the seventies the revivalist songs of Moody and Sankey acquired a hold on church singing. The ‘liederwysies’ – devotional folk tunes sung by Afrikaners in remote places – also underwent the influence of these songs. In spite of criticism levelled at the deterioration of traditional church singing by Bosnian di Ravelli (1882-1967) and efforts at restoration by Friedrich W. Jannasch (1853-1930) and later church musicians, the influence of the unsuitable Sankey tunes persists even to this day.

Expansion of musical life

The setting up of the two Boer republics in the middle of the century broadened the base of musical activity in South Africa. Beyond those centres in the Western and Eastern Cape and Natal where travelling companies and soloists from abroad were steadily superseding the performances of amateur groups (choirs, musical societies, etc.) a similar development from amateurism to professionalism was taking place in the new centres of Bloemfontein, Potchefstroom and Pretoria. As facilities for travel improved, these places were also included in the itinerary of soloists and small operatic companies from abroad.

Disney Roebuck

Although the opening of the Suez Canal in 1869 seemed to bring a temporary set-back, the development of the diamond- and gold-fields brought about much improvement. Kimberley, and after 1886 also Johannesburg, attracted musicians of every type and standing, to the advantage also of other towns. Thanks to the companies of Miranda-Harper, Disney Roebuck and Luscombe Searelle, Cape Town and other cities came to know the repertoire of operas and operettas popular between 2868 and 1887, and from 1887 Johannesburg quickly came up from behind. Here again Searelle, in the Theatre Royal, was the moving spirit. The same development took place in Kimberley. Other centres, notably Grahamstown, King William’s Town and Durban, also shared in the visits of travelling operatic companies. In 1879 James Hyde, newly arrived with one such company, settled in King William’s Town and there gave choral performances, including some of his own compositions. He was later prominent in Johannesburg as conductor of the Wanderers’ Choral and Orchestral Society. Here musicians of the stamp of Sam Foote, Max Weinbrenn, Otto von Booth and others lent colour to the flourishing world of music.

There and elsewhere works from the popular repertoire were regularly performed. Compared with the more cosmopolitan Johannesburg, the musical life of Pretoria was rather more sedate and localised, but concerts and choral recitals were given, while visiting musicians made appearances and local professionals (such as D. J. Balfoort, Piet van den Burg and Henri ten Brink) as well as accomplished amateurs performed. In the sixties and seventies of the century particularly, the type of light recreational music provided by the Christy minstrels (local as well as visiting) was popular in the cities and outlying towns. It served to popularise a large number of American ditties, to such an extent that even today several of these songs, with new words, are among the most popular of Afrikaans folk tunes (‘Gertjie’, ‘Sarie Marais’); and even the minstrel clothing affected by the Cape Coloured troupes at the New Year are gay reminders of what was then in vogue.

Early music title

Until the 20th century, when improved communications and the coming of the gramophone and radio made the influence of urban culture an irresistible force, vocal and instrumental folk music had been flourishing in the country districts: in the Moot (Rustenburg) as in Namaqualand and the Orange Free State, and even in the Malay quarter in Cape Town and in the Coloured communities of the Western Province and elsewhere. But although there existed quite a number of brass bands among them as well as violin, accordion and concertina players; these popular musicians failed to render any contribution toward the development of musical life. What was lacking in the 19th century was a conservatoire, an institute for the training of professional musicians from whose ranks South African composers, performing artists, critics and a large number of competent music teachers should come, to supplement those individuals active in a few towns. Only such trained persons are able to take part in the process of development and to impart a genuine South African tone to musical production and reproduction. An interminable stream of compositions for the piano in a hackneyed style (marches, waltzes, etc.) merely serves to remind one of the creative urge in usually amateur composers, with the exception of a number of oratorios and cantatas by Jan S. de Villiers. But this music was too ephemeral to afford any inspiration to the succeeding 20th-century generations to continue a national tradition. The first improvement came about in 1894 through J. H. Meiring Beck, who arranged with the Royal College of Music, London, to hold annual music examinations in South Africa.

Modern times

The great forward movement came with the establishment of the Conservatoire at Stellenbosch (1905) under Fr. W. Jannasch and Hans Endler, and of the South African College of Music in Cape Town (1910) under W. H. Bell (since 1912). These men were the principal teachers. In 1934 and in 1918 respectively, these institutions were incorporated in the local universities. Johannesburg, Grahamstown, Bloemfontein, Pretoria, Port Elizabeth and Pietermaritzburg followed suit.

In 1908, before musical life in general could have derived any benefit from such professional training, Jan G. H. Bosnian (di Ravelli) was composing the first art songs in Afrikaans, based on poems belonging to the second Afrikaans language movement. In an effort to impart to his music a genuinely South African colour, he sought inspiration from Bantu music. This example was only followed fully a half-century later by a few composers (Stanley Glasser, Theo Wendt, Heinz Hirschland, Arthur Wegelin). The intensive study of Bantu music made by Prof. P. R. Kirby and Hugh Tracey goes to show that the possibility of utilising such an influence lies less in its melodic than in its rhythmic content. The year of greatest flowering was 1914, when the Cape Town Municipal Orchestra was instituted as a permanent symphony ensemble, the ‘volkspele’ (folk-dances) movement was started in the Orange Free State, and Afrikaans song-writing began with a few simple art songs. The establishment of the orchestra in Cape Town, for many years under the baton of Theo Wendt, was partly a result of the withdrawal of the British military bands which for more than a century had been such an important factor in the musical life of Cape Town and other garrison towns. It also supplanted the former orchestra of the Cape Town Music Society (1864) which, under Dr. Barrow bowling, took part in so many concerts and choral recitals. Durban followed with an orchestra under H. Lyell-Taylor in 1921; Johannesburg in 1936 with the S.A.B.C. (South African Broadcasting Corporation) Orchestra which, upon becoming a full symphony orchestra, developed further under Anton Hartman and Edgar Cree, and in addition to broadcasts gave regular concert-hall performances. Since 1965 Pretoria has also had its own PACT (Performing Arts Council of the Transvaal ) Orchestra under Leo Quayle, performing as an operatic and symphony orchestra.

The revival of folk-dancing under the name of ‘volkspele’ began at Boshof under S. Henri Pellissier, modelled upon the Swedish folk-dances. The adoption of definite rules for the execution of movements and steps and of special garb to be worn ensured uniformity at mass displays on the occasion of national festivals such as the centenary of the Great Trek (1938) and the Tercentenary Festival (1952), but departed from the unpretentious 19th-century traditional folk-dances. The setting up of ‘lenteskole’ (springtime schools) in 1941 and the forming of ‘boere-orkeste’ (shortly before 1938) were logical developments of this movement. The expectation that the ‘Boeremusiek’ of these small orchestras would lead to realising higher musical aspirations fell short of fulfilment. Especially after musical activity became increasingly commercialised ‘Boeremusiek’ lost any appeal it might have held for more serious composers, as had been predicted by Anton Hartman as early as 1945. Allied to the ‘volkspele’ movement was the establishment of the Federasie van Afrikaanse

Kultuurvereniginge (F.A.K.) in 1929. This organisation was destined to play an important part in the eventual choice of a national anthem, and in 1937, through the publication of the F.A.K-ITolksangbundel (revised version under the title F.A.K-Sangbundel in 1962), greatly encouraged the singing of traditional and translated songs in Afrikaans. Devotional singing underwent a parallel development with the introduction of the Psalms in Afrikaans, in which the three Afrikaans Churches collaborated, in 1945.

Jo Fourie

The active interest of researchers in folk-songs was in line with all these movements. In 1914 a thesis by F. Th. Schonken on the origin of Cape Dutch popular traditions quoted a number of folk-songs with music. Professors S. P. E. Boshoff and L. J. du Plessis began publishing their collection of folk-songs; other researchers, such as Dr. S. J. du Toit and Dr. I. D. du Plessis, followed suit. Of great importance was the country-wide recording of folk-songs which Mrs. Jo Fourie commenced in 1935, as well as the collection of Willem van Warmelo and others. The ‘folk music congress’ convened by the F.A.K. in 1957 resulted in the establishment in 1960 of the Institute for Folk Music at the University of Stellenbosch.

Charles Nel

No traces of similar movements are to be found among the English-speaking section of the population, presumably because a typical English South African folk music idiom never really developed. As a matter of fact simple art songs with English words appeared before 1900, such as those of James Hyde and Meiring Beck; but the South African song movement only got into its stride with the publication of S. H. Eyssen’s ‘Segelied’ and ‘Dis al’ by Charles Nel (both 1914). By 1920 there were a number of composers, notably M. L. de Villiers, S. le Roux Marais, P. J. Lemmer, Sidney Richfield, Arthur Ellis and Horace Barton, who with their simple artistry could satisfy the increasing demand.

The most gifted composer of this period, Johannes Fagan, died an untimely death in 1920. A younger brother, Gideon Fagan, began composing later on, but left for England and did not return until after the Second World War.
The succeeding generation, which had had the benefit of better facilities for study and could acquire a more fundamental knowledge of masterpieces from past centuries, by attending orchestral and chamber music concerts and by listening to the radio and recordings, came forward in 1935.
Source: Standard Encyclopaedia of South Africa

In the early days of the settlement at the Cape people of note were buried inside church buildings. Provision for a place of worship was at once made inside the Castle. Consequently the Rev. Joan van Arckel was laid to rest at that particular spot in the unfinished Castle in Jan. 1666. Only a fortnight earlier he himself had officiated at the laying of one of the four foundation stones of the new defence structure. A few months later the wife of Commander Zacharias Wagenaer was buried in the same ground; likewise Commander Pieter Hackius, who died on 30th November 1671. By 1678 the little wooden church inside the Castle proved too small, and when a new site was selected provision was made for a cemetery immediately outside the church, but the custom of burials inside the building continued. The whole piece of ground where the Groote Kerk and its adjacent office building now stand was enclosed by a strong wall. People were buried on this site before the completion of the church building. The first to be buried there was the Rev. Petrus Hulsenaar, who died on 15th December 1677 and was laid to rest where the church was to be built. The bodies of those who were buried in the wooden church inside the Castle were reinterred here in a common grave. After that a fee equivalent to about R12 was charged for a grave inside the church, as against R1.00 for a burial-place in the churchyard.

The church building was completed in 1703, and the first governor buried inside its walls was Louis van Assenburgh, who died on Sunday, 27th December 1711. The following year ex-Governor Simon van der Stel died on 24th June and was buried inside the church; a memorial was put up behind the pulpit. He was followed by several notable persons, all buried inside the building: Governor Maurits Pasques de Chavonnes, whose death occurred on 8th September 1724; Governor Pieter Gijsbert Noodt (died 23rd April 1729); the wife of Governor Jan de la Fontaine (June 1730), Governor Adriaan van Kervel (19th September 1737) and Governor elect Pieter, Baron van Reede, who died at sea on the way out and was buried in the church on 16th April 1773. The last of the Governors to be buried in the Groote Kerk was Ryk Tulbagh. Although his death occurred on 11th August 1771, the burial was postponed 17th August to enable country folk to attend the funeral of the `Father' of the people. Some memorial tablets and escutcheons can still be seen at the Groote Kerk, but most disappeared during rebuilding operations, including that of Simon van der Stel. The escutcheon- of Baron Pieter van Reede is still to be seen on the outside wall of the enlarged building near the original steeple. Another conspicuous tablet, but of a much later date, is that of Chief Justice Sir John Truter and Lady Truter, who died in 1845 and 1849 respectively and were buried in the churchyard a few years after the reconstruction. It is believed that the first Jan Hendrik Hofineyr in South Africa, who was superintendent of De Schuur and died in 1805, lies buried in the little cemetery still preserved at Groote Schuur, but it is impossible to identify his grave.

Notable Huguenot personalities are buried in Huguenot cemeteries at French Hoek, La Motte and Dal Josafat. A historic Jewish cemetery has been preserved in Woodstock, while many notable figures lie buried in the cemeteries at Mowbray and Woltemade. The Cape Malay community at all times took a pride in the graves of their leaders who died at the Cape. Apart from the kramat at Faure where Sheik Yusuf lies buried, there are kramats on the slopes of Signal Hill, being tombs of Khordi Abdusalem, Tuan Said (Syed), Tuan Guru and Tuan Nurman. New structures were erected here in 1969.

Comdt. Tjaart van der Walt, 'the Lion-Heart', was buried in 1802 where he fell in battle against the Xhosa tribes in the hills at Cambria, a few km from the Gamtoos valley. Dr. John Philip of the London Missionary Society, who died in 1851, is buried near Hankey railway station in the Gamtoos valley, and with him his son William Enowy, who drowned on the day when his father's water scheme was officially opened. Frederik Cornelis Bezuidenhout, whose death in 1815 was the prelude to the Slachter's Nek Rebellion, lies buried on his farm on the upper reaches of the Baviaans River, near the Bedford-Tarka road. A significant number of British settlers and sons of the 1810 Settlers were killed in battle in the Frontier Wars. At least one had the place he was buried named after him – Bailie's Grave near Keiskammahoek in the Ciskei; Charles Bailie, son of Lt. John Bailie, the founder of East London, was killed here in the Sixth Frontier War. Settler cemeteries in various parts of the Eastern Province contain the graves of many leading pioneers.

At Keiskammahoek is Gaika's grave, proclaimed a national monument. He was the founder of the Gaika tribe and died in 1829. The grave of his son and successor, Sandile, killed in the Ninth Frontier War in 1878 and buried at Stutterheim, has been provided with a bronze inscription by the Historical Monuments Commission. In Durban, the cemetery of the Old Fort has been proclaimed a national monument along with the fort itself; also the grave of Lt. King on the B1uff (James Saunders King was one of the original settlers at Port Natal). The site was also proclaimed where a few Voortrekkers fell fighting against the British at Congella station.

In Zululand is Piet Retief's grave where he was buried, next to the other victims of the massacre, in 1839 in the present Babanango district by the Commando that avenged his death. Near by, on the battlefield of Italeni, European graves have been found recently by Dr. H. C. de Wet and farmers of the neighbourhood. Two graves, some distance away from the others, may possibly be those of Comdt. Piet Uys and his son Dirkie. The graves have as yet not been opened nor identified with any degree of certainty. In the immediate vicinity of Dingaan's Kraal, where Retief lies buried, the Historical Monuments Commission's bronze plaques protect several Zulu graves: Senzangakona, founder of the Zulu nation and father of Shaka, Dingaan, Mpande and Mageba – all in the district of Babanango. When Dinuzulu died near Middelburg (Tvl.) in 1913 his last wish was granted – to be buried with his fathers. His grave, like that of Senzangakona, has an inscription in the Zulu language only. The memorial to Shaka near Stanger has been proclaimed a national monument; also Mpande's kraal and grave in the Mahlabatini district. Cetewayo's kraal, also in Mahlabatini, has the Commission's plaque. Comdt. Hans de Lange's grave at Besters station near Ladysmith has been preserved.

In the Orange Free State the grave of Moroka, chief of the Seleka branch of the Barolong tribe near Thaba Nchu, has been provided with a bronze plaque. Of the Republican presidents three lie buried in Free State soil: J. P. Hoffman at Smithfield, J. H. Brand in the Old Cemetery at Bloemfontein, and M. T. Steyn at the foot of the National Women's Monument. President J. N. Boshof's grave is in the Old Cemetery at Pietermaritzburg, that of M. W. Pretorius in Potchefstroom, and F. W. Reitz at Woltemade in Cape Town. Gen. C. R. de Wet and the Rev. J. D. Kestell rest at the foot of the National Women's Monument, where the ashes of Emily Hobhouse are also preserved. Sarel Cilliers is buried at Doornkloof near Lindley.

Much of the early history of Kimberley can be read from tombstones in three old cemeteries: the Pioneers' cemetery; Du Toitspan cemetery, where the victims of the concentration camp (1901- 02) were laid to rest; and the Gladstone cemetery which contains the graves of Lt.-Col. N. Scott-Turner of the Black Watch, of George Labram, maker of `Long Cecil', and of those who fell during the siege of Kimberley at Fourteen Streams, Dronfield and Carter's Ridge.

Interest in Pretoria centres largely round the Heroes' Acre in the Old Cemetery in Church Street West where Paul Kruger was buried, and Andries Pretorius as well as President T. F. Burgers were reinterred in 1891 and 1895 respectively. The children of A. H. Potgieter refused the reinterment of their father and so he still rests where he died, at Schoemansdal in the Zoutpansberg. Of the Prime Ministers of the Union of South Africa, two lie in the Heroes' Acre, namely J. G. Strijdom and Dr. H. F. Verwoerd, while Gen. Louis Botha was buried in the same cemetery, but before a corner of it had come to be designated Heroes' Acre. Gen. J. B. M. Hertzog is buried on his farm Waterval in the Witbank district. Gen. J. C. Smuts was cremated and his ashes scattered on a koppie on his farm near Irene. Dr. Malan was laid to rest in the cemetery outside Stellenbosch, as well as the President elect, Dr. T. E. Donges. Dr. E. G. Jansen, Governor-General, was buried in the Heroes' Acre.

Of the Prime Ministers of the Cape Colony, Dr. L. S. Jameson died in-London, W: P. Schreiner in Wales, and T. C. Scanlan in Salisbury, while Cecil John Rhodes rests at World's View in the Matopos. The first Prime Minister, Sir John Molteno, lies in Claremont cemetery, Sir Thomas Upington at Maitland, Sir Gordon Sprigg at Mowbray; and John X. Merriman, though he died at Stellenbosch, was laid to rest in Maitland cemetery. J. H. Hofmeyr (`Onze Jan'), by whose grace the Prime Ministers ruled, is buried at Somerset West. Of the Prime Ministers of Natal, Sir Henry Binns, who died at Pietermaritzburg, was buried in the military cemetery, Durban. Natal's first Prime Minister, Sir John Robinson, lies in the Church of England cemetery in Durban; Sir Frederick Moor at Estcourt, Sir George Sutton at Howick, and C. J. Smythe at Nottingham Road. Sir Albert Hime died abroad. The only Prime Minister of the Orange River Colony (1907-10), Abraham Fischer, died in Cape Town and was buried at Maitland.

Of the Boer generals among the older generation, Piet Joubert was buried on his farm Rustfontein in Wakkerstroom, in accordance with his own request; Schalk Burger on his farm Goedgedacht in Lydenburg, Piet Cronje on his farm Mahemsvlei in Klerksdorp, and J. H. de la Rey in the Western Transvaal town Lichtenburg. Of the famous South African literary figures, Olive Schreiner, initially buried at Maitland, was reinterred on the summit of Buffelskop, near Cradock; Jan Lion Cachet and Totius (J. D. du Toit) at Potchefstroom, and Jan F. E. Celliers in the Old Cemetery, Pretoria; while C. Louis Leipoldt's ashes were interred on the Pakhuisberg in Clanwilliam. The co-founder of the Kruger National Park, Piet Grobler, was buried in the New Cemetery, Pretoria, and the best-known finance minister of the Union, N. C. Havenga, at his home town Fauresmith. Public-spirited communities as well as private families all over South Africa have at numerous places gone to great trouble to preserve the graves of pioneers and public figures. At Ohrigstad the tombstones of Voortrekker graves have been brought together in a concrete but in the form of an ox-wagon, the oldest stone being that of J. J. Burger, born at Stellenbosch, over 1 600 km away, in the 18th century.