Author Description

p.1-36; Brief outline of country in Deaf Adder Creek & Cadell River area, first alien contacts, rock art as records of the past (present impossibility of dating), later alien visitors; Cadell River - lists locations with brief descriptions, figures 6-12 & bark paintings showing X - ray styles, figures 1374, types of brush, storage of clay pigment, mural painted at Bamyili, sacred Maraian objects; p.3770; Aboriginal (Ngalgbon/Rembarnga) informants biographical information; figures 75-155, including comparative styles of boomerangs & spears depicted, depiction of footprints; p.71-104; Data collection and processing (conversion of field drawings to line drawings, methods of obtaining meanings from informants; figures 156-241; p.105-164; Painting materials, pigments and techniques (bark, brushes, fixatives, pigments - names, sources, other colours, ritual classification), plates I-LIV; p.165-170; Conventions of style (Mimi art associated with the past); perspective, symbolic representations; main styles, characteristics of 1) Mimi art, 2) X - ray art, attempt to classify art into 4 types; p.171178; Temporal sequences, lack of reliable dating methods, relative age, changes in symbolistic representation, early Mimi art, late Mimi art, transition from Mimi art to X - ray art; p.179-182; Spirit beings & mytho - totemic motifs; p.183-187; Cadell River art - places and affinities, phases of style, general description of the area & the site locations, similarities in style with Kimberley art; p.188-205; Documentation for plates & text figures; p.206-207; Glossary of Aboriginal terms (mainly Djauan, Gunwinggu, Maielli, Ngalgbon, Rembarnga & Tiwi)