At a sandstone outcrop in Arnhem Land known an Injalak Hill, a traditional owner points to an enormous rock face. Adorning it are earthy reds and yellows, along with startlingly white clay. Spread across two pages in glossy colour, this image is but one of many in this book that may remind its Italian readers (some who may be reading this volume in its Italian edition) of treasured frescoes much closer to home. But instead of the familiar characters from the Book of Genesis are countless figures side by side or overlain: fish, kangaroos and crocodiles, all outlined in striking clarity and infilled with intricate designs. On the next page, anthropologist-and-philosopher Tony Swain has stressed that in Australia’s north, art and cosmology are deeply aligned and sometimes the same; Dreamings collide with the land, and once one is accustomed to experiencing them, then the country is alive with signs of their presence .' (Introduction)