This exhibition is about birds that fly and sing in the Australian imagination. Its images may vividly remind us of the birds that live in the world around us, but they also trace our changing attitudes to birds and our practical, scientific and artistic uses of birds.

The cover image, World Map by Fra Mauro c. 1450, is one of the most important and famous maps of all time. This monumental map of the world was created by the monk Fra Mauro in his monastery on the island of San Michele in the Venetian lagoon. Now the centrepiece of the Biblioteca Nazionale Marciana in St Marc’s Square in Venice, the map in its nearly 600-year history has never left Venice – until now. Renowned for its sheer size - over 2.3 metres square - and stunning colours, the map was made at a time of transition between the medieval world view and new knowledge uncovered by the great voyages of discovery. Brilliantly painted and illuminated on sheets of oxhide, the sphere of the Earth is surrounded by the sphere of the Ocean in the ancient way. Yet Fra Mauro included the latest information on exploration by Portuguese and Arab navigators. Commissioned by King Afonso V of Portugal, it is the last of the great medieval world maps to inspire navigators in the Age of Discovery to explore beyond the Indian Ocean.

"How images of Australian birds have changed over time as illustrated by the following artists whose work is in the Library's collection: John Hunter, George Raper, Sarah Stone, John Lewin, John and Elizabeth Gould, Henry Richter, Neville Henry Cayley, Neville William Cayley, Ebezer Edward Gostelow, Lilian Medalnd, Betty Temple Watts, William Cooper. There is a short biography for each artist"--Provided by publisher.

Full-colour illustrations of all the items in the exhibition with commentary on each.

George French Angas (1822-1886) spent 18 months sketching and observing in Australia and New Zealand between 1844 and 1845. It was a period of decisive and irreversible cultural change. The young Angas excelled at capturing the minute detail of plants and people, objects and landscapes, and rapidly assembled a portfolio of 250 fine watercolours. In this fully illustrated volume, Philip Jones has used Angas's sketches, watercolours, lithographs and journal accounts to retrace his Antipodean journeys in vivid detail. Set in the context of his time, Angas emerges both as a brilliant artist and as a flawed Romantic idealist, rebelling against his father's mercantilism while entirely reliant upon the colonial project enabling him to depict pre- and early colonial ways of life.

Table of Contents; Illustrations;Foreword by S. Diane Shaw;Acknowledgments;Introduction;1 Online Exhibitions versus Digital Collections; 2 The Idea; 3 Executing the Exhibition Idea; 4 The Staff; 5 Technical Issues: Digitizing; 6 Technical Issues: Markup Languages; 7 Technical Issues: Programming, Scripting, Databases, and Accessibility; 8 Design; 9 Online Exhibitions: Case Studies and Awards; 10 Conclusion: Online with the Show!; Appendixes;A Sample Online Exhibition Proposal; B Sample Exhibition Script; C Guidelines for Reproducing Works from Exhibition Websites; D Suggested Database Structure for Online Exhibitions; E Timeline for Contracted Online Exhibitions; F Dublin Core Metadata of an Online Exhibition; G The Katharine Kyes Leab and Daniel J. Leab American Book Prices Current Exhibition Awards; H Bibliography of Exhibitions (Gallery and Virtual);