in Vienna. Whereas Bauer's brother, Franz, is remembered both by a portrait and a memorial in Kew, Ferdinand Bauer himself has no portrait or stone to commemorate him other than a mention in Franz's epitaph in St Anne's Chapel in Kew: “In the delineation of plants he [Franz] united the accuracy of a profound naturalist with the skill of the accomplished artist, to a degree which has been only equalled by his brother Ferdinand.” Legacy Bauer's biographer, John Lhotsky, whose purpose in writing Bauer's biography was to revive interest in the man and his work, suggested in 1843 that Bauer's name would "long live in the recollections of posterity" because of his drawings, the genus Bauera that was named after him, and Cape Bauer in South Australia, named by Flinders. But soon after his death, although acclaimed by his contemporaries as the greatest of botanical artists, Bauer's name was almost forgotten. He was single-minded and obsessional about his work and had no time or talent for self-promotion, which may go some way to explaining his long years in the historical wilderness. Lhotsky did revive Bauer's name, but his brief biography remained the only source of information about the naturalist-painter for the next 100 years. Bauer's gained some prominence in the 1970s with the work of Drs Wilfrid Blunt and William Stearn in their publication The Australian Flower Paintings of Ferdinand Bauer (Basilisk Press, 1976). The 1988 Bicentenary brought original Bauer paintings to Australia for the first time, where they were shown in three exhibitions, including "First Impressions" shown at the Australian Museum. In April 1989 the first monograph about Ferdinand Bauer's Australian voyage appeared, Ferdinand Bauer: the Australian Natural History Drawings. Drawing on both the English and Austrian collections, it also reproduced all of Bauer's known letters in translation. In 1985, 100 uncatalogued animal sketches by Bauer were found in Vienna, and some of them were included in the monograph. Bauer's sketched the flora and fauna of the Australian coast and Norfolk Island, and left behind a wonderful visual record. In an essay on flower painting written in 1817, Johann Goethe devoted two pages to an analysis of one of Bauer's drawings: “ . . . we are enchanted at the sight of these leaves: nature is revealed, art concealed, great in its precision, gentle in its execution, decisive and satisfying in its appearance”. His work has lasting important because