The nineteenth century squatter and painter Duncan Elphinstone Cooper spent about thirteen years of his life in the Western District of Victoria where he painted the fifty-four pictures presented in this volume. Most of these are from Cooper's The Challicum Sketch Book, now a treasured part of the collections of the National Library of Australia; the paintings deal almost exclusively with the grazing property of that name — from tent to house and beyond.

This book showcases current research into Indigenous and minority placenames in Australia and internationally. Many of the chapters in this volume originated as papers at a Trends in Toponymy conference hosted by the University of Ballarat in 2007 that featured Australian and international speakers. The chapters in this volume provide insight into the quality of toponymic research that is being undertaken in Australia and in countries such as Canada, Finland, South Africa, New Zealand, and Norway. The research presented here draws on the disciplines of linguistics, geography, history, and anthropology. The book includes meticulous studies of placenames in central NSW and the Upper Hunter region; Gundungurra cave names; western Arnhem Land; Northern Cape York Peninsula and Mount Wheeler in Queensland; saltwater placenames around Mer in the Torres Strait; and the Kaurna in South Australia.

This book offers an original framework on how to investigate, understand and translate sense of place at a regional scale. The book explores contemporary sense of place theory and practice, drawing upon the Western District of Victoria, in Australia, being the "Country of the White Cockatoo". It offers a unique multi-temporal and thematical analytical approach towards comprehending and mapping the values that underpin and determine strengths of human relationships and nuances to this landscape. Included is a deep ethno-ecological and cross-cultural translation, that takes the reader through both the Western understanding of sense of place as well as the Australian Aboriginal understanding of Country. Both are different intellectual constructions of thoughts, values and ideologies, but which share numerous commonalities due to their archetypal meanings, feelings and values transmitted to humans.

The Vision Splendid features the sketchbooks of 22 nineteenth-century artists, ranging from well-known professionals like Eugene von Gu�rard and John Glover to amateurs about whom little is known. These artists, engineers, surveyors, military men, solicitors, public servants and pastoralists all delighted in recording what they saw and then sharing it with family, friends and the wider public. The sketches reveal what colonial life in Australia was like at that time, both in the country and in the city, and the challenges the artists faced depicting landscapes that were so different from those in Europe.