The Boree Track, as it is now called, for tens of thousands of years formed pat of a major Aboriginal route and songline that connected the Hawkesbury River (Dyarubbin) to the Hunter River (Kukyun) via the Macdonald River (Gunanday). The route went from Boree Arm at what is now the St Albans Common northwards to Big Boree and beyond, branching as the Boree Valley Road to Yengo in the west and Corobare/Wollombi in the east.
In the 1820s, John Blaxland (nephew of the famous Gregory Blaxland who found a route across the Blue Mountains) “discovered” a route across the Hunter range to Wollombi. He wrote to the Surveyor General on 4 January 1825:
I have the honour to inform you of my having discovered a new and almost direct line of Road from Windsor to Wallis Plains, Hunters River, passing over the Two Branches of the Hawkesbury and through the Mountains, of which there is not more than Thirty-five miles, all easy of ascent. It is particularly well watered by perpetually flowing streamlets about five miles apart, and there is an abundance of grass, and through Wallumbi (Wollombi), a level and exceeding fine grazing country, from thence in almost a straight line to Wallis Plains over Verdant Hills and fertile vallies, all abundantly supplied with water. The distance as far as I can judge is not more than Ninety Miles, which will make a saving of upwards of forty miles. The Country through which I passed is superior in every respect for the making of a Road to that now used (the Bulga Road) and very considerably shorter.
John Blaxland
It’s rather likely that Blaxland was guided by the local Aboriginal people: R. H. Goddard, an amateur anthropologist, suggested that “Blaxland, in his search for a track through to Fordwich as an alternative to the sea journey, via Newcastle and the Hunter River, would, it is submitted, be led by a native, who, naturally, going into strange country, would take the trade route in preference to going across unknown and possibly hostile country. Similarly, Ian Sim in 1966 stated “In fact, local Aborigines are reported to have guided early European settlers into the Wollombi and Howes Valley areas along this route”.
The last section of what was Blaxland’s Line is now called the Boree Track, and the many Aboriginal rock art and ceremonial sites are evidence of the significance of this route to the Darkinung and Dharug people. (Parts of the Boree Track were renamed as the Boree Valley Road and Yango Creek Road.)
It seems likely that the Boree Track was an important ceremonial route, since the engraved sites appear to link up with each other and with Mount Yango… If this is the case, it is extraordinary that Aborigines, even when their culture was disintegrating, should have guided white settlers along it, since legendary paths and initiation grounds were the last things that they would normally reveal to Europeans.
Ian Sim, Rock engravings of the Macdonald River district, New South Wales (1966)
Boree Track rock engravings
Numerous rock Aboriginal rock engraving sites were recorded along the Boree Track (and neaby ridges) by Australian anthropologists from the 1930s, including the significant, Devils Rock, Frying Pan Rock and Finchley Aboriginal Area which were both extensively documented.

Finchley Aboriginal Area
Considered one of the best Aboriginal engraving sites in Australia, the Finchley Aboriginal Area (originally called Flat Rock and also the Northern Map Site) includes over a hundred figures.

The site includes a number of ancestral beings or deitirs, and an “emu woman”.
Devils Rock
One of the most significant Aboriginal rock art sites along the Boree Track, Devils Rock or Burragurra (which means “Words on the Rock”) was a sacred Bora ground likely used for initiation ceremonies. In the Dreamtime legend, Baiame – the creator of heaven and earth – stepped from Devils Rock to Mt Yengo in one stride before ascending into the sky.


The site has over 100 motifs, including Daramulan figures, rayed men, bird and emu tracks and mundowa or spirit pads (Baiame’s footprints).
Devils Rock Male Figures
Near Devils Rock is a cluster of Aboriginal rock engravings; the best-preserved site has a group of three men and a boomerang.
Fryng Pan Rock
First documented in 1898, Frying Pan Rock is a significant and complex Aboriginal engraving which has over 130 figures, including 94 bird and emu tracks).
Human head
Head with eyes, possibly an unfinished figure
Three echidnas
Set of 3 echidna
Boomerang and Club
"Deeply angled returning boomerang" and a spheroidal headed club.
Bandicoot
Woman
Two Men
Kangaroo Head
Large Man
Large kangaroo
Kangaroo
Kangaroo
Kangaroo
Kangaroo
Kangaroo
Speared Kangaroo
Kangaroo
Small Man with Sprear
A small man whose "arm continues as a spearthrower with hooked end in profile... he has thrown the spear into the big kangaroo"
Speared Kangaroo
Kangaroo
Koala or Wombat
Kangaroo
The site has been described as depicting two hunting scenes, and includes 12 kangaroos (two of them speared), hunting tools, a number of local animals and both men and woman figures.
Big Baiame
On a large rock platform near the Boree Track is a Baiame figure, described by Ian Sim as a thickset anthropomorph; nearby is a man and unusually shaped speared echidna.
Boree Track Big Emu and Deities
Another rock engraving site above the Boree Track documented by Sim in the 1960s, this large rock platform contains an emu (an unusual figure as it uses a natural depression in the rock for part of its shape), two rayed deity figures and a line of six mundoes.
Bala Range Woman Engraving
A rock platform near the start of the Bala Range Trail which has a woman in profile (very weathered) and two potholes with about twenty axe grinding grooves.
Boree Track Halfway Hill waterhole
A pothole on a ridge above the Boree Track with two carved water channels, which were later enlarged by European settlers (who also carved their initals and a horse into the rock). The platform also has 40 axe grinding grooves and some Aboriginal engravings of bird tracks.



Shelters with Art
Most of the shelters with art along the Boree Track were recorded much later than the rock engraving sites along the ridges, most of which have only been documented in the last couple of decades.
Mogo Creek Red Anthropomorphs
One of the most intriguing rock art shelters along the Boree Track, which includes two interconnected anthropomorphs drawn in red ochre, as well as a sunburst figure, ten hand stencils and numerous figures in red ohre.
Devils Rock Lyrebird Shelter
A small shelter near Devils Rock, which contains an impressive gallery of charcoal and red ochre figures. The mortifs include a large lyrebird, koradji (medicine man) and eel, and many smaller animal motifs.
Devils Rock Camp Cave
A large camping cave, which contains over fifty Aboriginal rock art motifs. The most prominent figures include a kangaroo in red ochre, an animal resembling a cow in charcoal and a large anthropomorph.
Carrolls Cave
A long, tunnel-like shelter which has over 80 Aboriginal hand stencils, as well as stencils of stone axes and spears. Above the shelter on a sloping rock platfom are a mundoe and kangaroo engraving.



Big Boob Lady Cave
Named after a large-breasted woman drawn in charcoal, this low shelter has (at least) four figures which include men and women. (Engravings were recorded on a nearby rock platform, but could not be re-located).
Fractured Frieze Shelter
Likely to have once been an enormous frieze, weathering and fracturing of the sandstone in this shallow shelter has left five small panels of art. Many of the charcoal figures appear to depict human figures.
Little Boree Creek Shelter
A long and deep shelter along Little Boree Creek, which contains over twenty figures including a kangaroo (charcoal) and hand and arm stencil (white ochre).



































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