This paper will investigate the significance of Scottish visual culture in Australia, in particular Australian artists and collectors during the nineteenth century. It will focus on the collecting of Scottish art by Australian individuals (such as the philanthropist Alfred Felton, the businessman William Mcgregor, and the pastoralists Thomas Chirnside and Thomas Elder) and institutions (chiefly, the State and Regional art galleries but also schools, municipal collections and private gentlemenÕs clubs, such as the Australian Club). The large number of works by Scottish artists collected by Australian art museums during the 19th and early 20th centuries is particularly deserving of study in terms of the choice of artist and subject matter. The paper will also consider some specific manifestations of Australian-Scottish culture, such as the influence of Scottish visual stereotypes in shaping colonial attitudes to the environment. Building upon MacKenzieÕs recent thesis that Nineteenth-century century Scotland Ôbecame a "typical landscape" which was used as a touchstone for imperial travellersÕ (1997, p.68) this paper will focus on the extent to which the appreciation of the Australian landscapeÑand local landscape paintingÑwas conditioned by aesthetic conventions associated with "Scottish Scenery."