Semenovio anno 1857 collectarum.

Bulletin de la SocieÂte ImpeÂriale des

Naturalistes de Moscou 43(I): 237±283.
Schreder, R.R., Korovin, E.P. & Vvedensky, A.I. (1955). Corydalis
nevskii. Flora Uzbekistana 3: 49.

THE BERLIN PASSION FLOWERS

ferdinand bauer's swan-song
H. Walter Lack
1. introduction
When a company runs into ®nancial dif®culties, it is standard
policy to ask an accountant for a report, rede®ne priorities and
mobilize the reserves, which often means selling part of the
property. This was precisely the situation in which the Council of
the Horticultural Society found itself in 1859: in order to pay the
debts it was decided to sell the house in Regent Street and the ®ne
library which, among others, comprised over 1500 drawings
(Fletcher, 1969). These included a priceless collection of water-
colours illustrating passion ¯owers made by Ferdinand Bauer
(1760±1826). Auctioned in the same year by Messrs Sotheby &
Wilkinson in London (Fletcher, 1969), this highly valued collection
was acquired for Friedrich Wilhelm IV, King of Prussia, who
donated it to the KoÈnigliche Bibliothek in Berlin, later to become
the Preuûische Staatsbibliothek.

2. the berlin passion flowers

The new acquisition got the shelf-mark `Libri Picturati A 102' and
was subsequently conserved in the Department of Manuscripts of
this famous library. Since all drawings, in fact two volumes, show
species of the genus Passi¯ora L. the collection is called here the
`Berlin Passion Flowers'.
The larger volume (i.e. Volume A) measures 59.5 6 48.5 cm,
the smaller volume (i.e. Volume B) 33.5 6 26.0 cm. Both are
portfolios bound in half-leather, A containing 40, and B 41
watercolours. Volume A has `Bauer's Passion Flowers', Volume
B `Bauer's Dissections of Passion Flowers' in gold lettering
impressed on brown leather, both on the spine and on a rect-
Editor's note: The copyright of all illustrations in this paper remains with the owner of the
materials, as indicated.

# Bentham-Moxon Trust 1999. Published by Blackwell Publishers, 108 Cowley Road,

286 Oxford, OX4 1JF, UK and 350 Main Street, Malden, MA 02148, USA.
Tab. 1 Passi¯ora caerulea L. by Ferdinand Bauer. Paper, pencil(?), watercolour,
signed, c. 1820(?). Libri Picturati A 102, volume A: f.28. Biblioteka JagiellonÂska,
Cracow.
angular label on the front cover. In addition, the former owner ±
`Horticultural Society of London' ± is given in gold lettering on the
lower portion of the spine. Volume A has a cut-out from the
printed auction catalogue ®xed on page ii v reading `Bauer
(Ferdinand) Delineations of the genus Passi¯ora. Forty exquisite
Drawings in colour by this admirable Botanical Artist, with 40
other similar Drawings by the same Artist, containing the Dissec-
tions. 2 vol. half russia. *** These were executed expressly for the
Society, and are unique. Their execution is a model of botanical
drawing in water colours'. Added are two pencil notes `from the
Library of the Horticultural Society' and `£24.0.0', possibly the
price given in the auction catalogue. Volume B contains ®ve sheets
of paper (p. i±v) pre®xed to the drawings. The ®rst four contain in
the hand of Ferdinand Bauer the names of the illustrated plants no.
1±38 and a few miscellaneous notes (see Appendix), the ®fth is
void.
The drawings are arranged in two series. The A series measures
50635.5 cm and is in volume A, the B series 17.8626.3 cm and is
in volume B. Both series are numbered 1±40, so that each species
illustrated is found under the same number, e.g. the general habit of
Passi¯ora caerulea L. is found on A: f.28 (Tab. 1), the dissection of a
¯ower and fruit on B: f.28. The only exception is no. 21 ± in the B
series there are two drawings, i.e. B: f.21 A and B: 21B, both
referring to A: f.21. In the two series only the watercolours 1±36 are
signed ± consistently in black ink and mostly `Fer.d Bauer del.' or
`Drawn by Ferd. Bauer'. The complete series, 1±40, is very
homogenous, all drawings are very true to nature, of the highest
quality, with the dissections showing minute details in utmost
perfection. Nothing indicates that the eight unsigned drawings
might have been made by an illustrator other than Ferdinand
Bauer.
Of the 81 drawings only four show a water-mark, i.e. A: f.23
has `Whatman', A: f.38, B: f.38, and B: f.40 have `B. E. & S.
1825'. Since Ferdinand Bauer died on 19 March 1826 (Lack,
1998), the three drawings on the `B. E. & S. 1825' paper must be
among his last works, in short his swan-song (see Chapter 6). They
prove that he was able to maintain the highest standard until his
last days ± like two other remarkable men who died in Vienna in
these years, Ludwig van Beethoven in 1827 and Franz Schubert
in 1828.

# Bentham-Moxon Trust 1999. 287

3. the background to ferdinand bauer's passion flowers
It is not known why Ferdinand Bauer concentrated on the
illustration of passion ¯owers, but it would be no surprise if he
was indeed commissioned by the Horticultural Society or one of its
members to do so, as stated in the auction catalogue mentioned
above. In this work he almost certainly followed his traditional
method: Ferdinand Bauer ®rst made a pencil drawing of the plant,
often on rather thin paper, recorded the colours by annotating it
with the number of his colour code (Lack & IbaÂnÄez, 1997), and
then ± sometimes after an interval of several years ± produced a
painting on watercolourist's paper, starting with a rough pencil
sketch later hidden under the body colour applied to it. He had
already used this approach when working in the Levant and then
in England for John Sibthorp, third Sherardian Professor of
Botany at the University of Oxford, and before that, when
working for Norbert Boccius, OH in Feldsberg [Valtice] (Lack,
1999).
A short series of pencil drawings by Ferdinand Bauer illustrating
various passion ¯owers was in the possession of his elder brother
Franz Bauer. Upon the latter's death this collection was auctioned
by Christies in London forming lot 156 (Anon., 1841), and was
bought by Robert Brown (Moore, 1998), the travel-companion of
Ferdinand Bauer on the voyage with the Investigator under the
command of Matthew Flinders. Upon Brown's death he be-
queathed this collection to the British Museum, London (now
Natural History Museum), where it is said to have existed in 1904
(Anon., 1904). These `Pencil Drawings of Passion Flowers' (Anon.,
1841) were recently found, bound into a volume described on the
title-page as `Un®nished Drawings of Plants Cultivated in the
Royal Garden at Kew By Francis Bauer Vol. I Dicotyledons I',
which is kept in the Department of Botany, Natural History
Museum, London. However, only a few of these pencil drawings
refer to the Berlin passion ¯owers and this paper is based mainly on
the ®nished watercolour drawings, most of which have pencil
names in an unknown hand.
Ferdinand Bauer's list of determinations and his miscellaneous
notes (see Appendix) are of particular interest here. Although the
latter refer to only six of the forty drawings, it becomes evident that
he had based his work on specimens found in the wild and on plants
in cultivation. Clearly Ferdinand Bauer illustrated material from

288 # Bentham-Moxon Trust 1999.

Tab. 2 Passi¯ora racemosa Brot. by Ferdinand Bauer. Paper, pencil(?), water-
colour, signed, c. 1820(?). Libri Picturati A 102, volume A: f.37. Biblioteka
JagiellonÂska, Cracow.
the Old and the New World, among them popular species like
Passi¯ora caerulea L. (Tab. 1) and P. racemosa Brot. (Tab. 2).
For A: f.6 he clearly states, for example, `the drawing was made
from a plant which ¯owered in the Imperial Garden at SchoÈnbrun'.
Since Ferdinand Bauer owned in his ®nal years the house Hietzing
No. 155 (Lack, 1998), which was within walking distance of the
Imperial garden, the drawing and the watercolour based on it were
almost certainly prepared in Vienna. The drawing A: f.9 was made
on the basis of a specimen from Brazil cultivated in the Botanic
Garden of the University of Vienna and again both the drawing
and the watercolour seem to have been prepared in that city.
Ferdinand Bauer was well informed: Joseph Franz Baron von
Jacquin, then director of the Botanic Garden and professor at the
University of Vienna, may indeed have intended describing this
particular plant as new to science under the name Passi¯ora gracilis
Jacq., but this was done by his colleague Heinrich Friedrich Link,
director of the Royal Botanic Garden in SchoÈneberg near Berlin
and professor at the University of Berlin. The latter obviously based
his description on a living plant raised in the Botanic Garden in
SchoÈneberg (Link, 1822). Since Link used the name Passi¯ora gracilis
and attributed it to Jacquin, in fact the younger Jacquin, it is very
likely that the seeds had been received from the latter. More than
twenty years later, an illustration of this species was published
under the name Passi¯ora gracilis Jacq. ex Link in the second volume
of the Eclogae Plantarum Rariorum started by the younger Jacquin
(Jacquin, 1844: t.168), and completed posthumously by Eduard
Fenzl. The species illustrated is identical to that on Ferdinand
Bauer's A: f.9, but the latter clearly shows a different plant.
The drawing A: f.18 has the name `P. rubraecaule', which is also
found in Ferdinand Bauer's list. However, this name had not yet
been validated; it was also to be published as Passi¯ora rubricaulis
Jacq.f. ex Fenzl in the second volume of the Eclogae with the note
`Patria ignota, verosimillime Brasilia' [Natural distribution un-
known, very likely Brazil] and an illustration included (Jacquin,
1844: f.169). By then more than a quarter of a century had passed
after the death of Ferdinand Bauer, who again had illustrated the
same species, but a different plant. While everything indicates that
the above mentioned drawings were made in Vienna, A: f.10 must
have been sketched by Ferdinand Bauer in Australia, and more
precisely in the Sydney area, since he mentions in his miscellaneous

# Bentham-Moxon Trust 1999. 289

notes `this plant I found on the banks of the river Hawkesbury in
New South Wales' (see Appendix). Back in Europe he produced the
water-colour, and the same holds true for A: f.11 and A: f.12, the
latter reported to have been `found upon Norfolk Island. from
which also the Passi¯ora Adianthifolia [i.e. A: f.11] should come'.
Ferdinand Bauer's comments on A: f.7 and 8 are less clear, but
two points are evident ± ®rstly, he had prepared some sketches in
England, and, secondly, some or all drawings were sent to a
correspondent, hence `will come in my next transport'.
Due to the complexities of Passi¯ora taxonomy and nomenclature,
no attempt is made here to determine the identity of the species
illustrated by Ferdinand Bauer, except for three of the more
remarkable taxa.

4. passiflora aurantia from norfolk island

After the circumnavigation of Australia on board the Investigator
Robert Brown and Ferdinand Bauer spent several months together
in New South Wales (Mabberley, 1985; Norst, 1989). Then their
partnership broke up, Brown sailing to Tasmania and Ferdinand
Bauer to Norfolk Island (Mabberley, 1985; Norst, 1989), one of the
most spectacular islands in the Paci®c. Ferdinand Bauer left
Sydney on the Albion on 21 August 1804 and returned to Sydney
on the re®tted Investigator on 11 March 1805 (Moore, 1998; see also
Ferdinand Bauer's letter of 27 August 1804 published in Norst,
1989 and, with additional notes, in Lack, 1997). During these six
months Bauer, for the ®rst time in his life, worked alone in the ®eld
± alone, that is, independently from a naturalist. Maybe he felt
stimulated by the very particular ¯ora of the place; in any case he
must have been very busy collecting and sketching many of the
plants on this island as well as a few views. This is evident from the
specimens and drawings cited in Stephan Endlicher's famous
Prodromus Florae Norfolkicae (Endlicher, 1833). The pencil drawings
of plants are conserved in the archives of the Naturhistorisches
Museum Wien, some of them published as lithographs by Stephan
Endlicher, e.g. the drawing of Wikstroemia australis Endl. in the
Iconographia Generum Plantarum (Endlicher, 1837±41). In contrast,
four pencil views from Norfolk Island are kept in the Natural
History Museum, London (Moore, 1998) and at least one further
pencil view in the archives of the Naturhistorisches Museum Wien,
with photographs of it in the Botanisches Museum Berlin ± Dahlem

290 # Bentham-Moxon Trust 1999.

Tab. 3 Passi¯ora aurantia G. Forst. by Ferdinand Bauer. Paper, pencil(?),
watercolour, signed, before 1821. Libri Picturati A 102, volume A: f.12.
Biblioteka JagiellonÂska, Cracow.
and the Natural History Museum, London (C. Jarvis, pers. comm.).
This landscape has a stamp `Norfolk' in the right hand upper
corner and shows specimens of Cyathea brownii Domin, endemic to
Norfolk Island (Green, 1994), and a few unidenti®ed plants in the
foreground, together with two human ®gures and a coastline in the
background.
Pencil drawings of Passi¯ora aurantia G. Forst. were almost
certainly prepared by Ferdinand Bauer on Norfolk Island (see his
note reproduced in the Appendix). On this basis he produced later,
in London or Vienna, the watercolours A: f.11, 12 (Tab. 3) and B:
f.11, 12. The second pair, i.e. A, B: f.12, must have been ®nished by
1821 at the latest, because John Lindley, then garden clerk of the
Horticultural Society (Desmond, 1994), published in that year the
sixth instalment of his Collecteana Botanica. This remarkable work
contains a coloured lithograph (Lindley, 1821±26, t.26) based on A,
B: f.12, the only two drawings of the Berlin Passion Flowers ever
published. The name Murucuja baueri Ker.-Gawl. used by Lindley
on the plate and in the text is incorrect, being a later synonym of P.
aurantia G. Forst. (Green, 1972; 1994).

5. passiflora amethystina from brazil

In 1817 Leopoldine, archduchess of Austria, married by proxy
Pedro, the eldest son of King JoaÄo VI of Portugal. Because of the
Napoleonic wars the BragancËa family had ¯ed from Lisbon to Rio
de Janeiro, which became the destination of the bride's voyage. She
was accompanied, among others, by a group of naturalists, sent out
by her father, Franz I, Emperor of Austria, to study the vast
Portuguese colony and to collect plants and animals for the
Imperial garden and the Menagerie in SchoÈnbrunn. The scientists
included the physician Johann Emanuel Pohl and Johann Christian
Mikan, director of the botanic garden and professor of botany at
the University of Prague.
Among the rich collections brought back by Mikan to Vienna in
1818 (Pohl, 1832) there were seeds of a passion ¯ower which had
not yet received a scienti®c name and is stated to have been
collected near Tocaja (Mikan, 1820±25). Drawings of this most
attractive species, raised in Vienna, possibly in the garden of
SchoÈnbrunn, were prepared by Ferdinand Bauer and a description
made by Mikan. One of Bauer's drawings is A: f.19, accompanied
by the dissections on B: f.19; another one, no longer extant, seems

# Bentham-Moxon Trust 1999. 291

to have been used as basis for the unnumbered coloured lithograph
included in the Delectus Florae et Faunae Brasiliensis (Mikan, 1820±25),
where the species had its name validated ± Passi¯ora amethystina J.C.
Mikan. Although this particular plate, often numbered `20' (e.g. by
Stearn, 1956), has the inscription `Scholl', this may well not be the
name of the illustrator. The similarity with A: f.19 is so striking and
the quality of illustration is so high that a single authorship is
plausible ± the drawing must have been made by Ferdinand Bauer
or at least under his guidance. In fact, he is known to have
contributed to Mikan's work by producing two plates (Mikan,
1820±25, t.[1], t.[7]) and adding the ¯oral dissections to a third
(Stearn, 1956). In contrast to what was said in the literature (Kugler
& Wetschig, 1991) B: f.19 is de®nitely not identical to the dissection
included in the coloured lithograph of Passi¯ora amethystina (Mikan,
1820±25: f.[20]).
Three generic names validated in the Delectus Florae et Faunae
Brasiliensis (Mikan, 1820±25) are dedicated to high ranking mem-
bers of Viennese society ± Metternichia principis J.C. Mikan com-
memorates Clemens Wenzel Lothar FuÈrst von Metternich,
Minister of State, who had arranged for the marriage of Leopoldine
and Pedro and later organized the expedition, Esterhazya spendida
J.C. Mikan is a tribute to Nikolaus II FuÈrst EsterhaÂzy, an extremely
wealthy land-owner, who just had just built spectacular glasshouses
near his residence in Kismarton [Eisenstadt] (e.g. Prost, 1995),
while Stifftia chrysantha J.C. Mikan commemorates Andreas Freiherr
von Stifft, physician in ordinary to Franz I, Emperor of Austria.

6. the enigma of passiflora caerulea-racemosa

The drawing A: f.38 (Tab. 4) is made on paper water-marked `B. E.
& S. 1825' and shows a passion ¯ower with petals and sepals in a
most unconventional colour ± bright dark violet. It is annotated in
pencil `Passi¯ora caerulea-racemosa' and represents the progeny of
the ®rst successful cross within the genus, with P. caerulea L. as the
male and P. racemosa Brot. as the female parent. This hybrid is now
called P.6violacea Loisel. (Kugler & Wetschig, 1991). The cross was
made in spring and early summer 1819 by Thomas Milne in the
nursery of Whitley, Brames and Milne in Fulham, Middlesex and
the hybrid progeny raised in December 1819. It ¯owered, and
Joseph Sabine, then Inspector-General of the assessed taxes and
secretary of the Horticultural Society (Desmond, 1994), immedi-

292 # Bentham-Moxon Trust 1999.

Tab. 4 Passi¯ora 6 violacea Loisel. by Ferdinand Bauer. Paper, pencil(?),
watercolour, signed, 1825±6. Libri Picturati A 102, volume A: f.38. Biblioteka
JagiellonÂska, Cracow.
ately recorded the occurrence of the dark violet ¯owers and named
the hybrid `Passi¯ora caeruleo-racemosa' (Sabine, 1822). All this
was reported to the Horticultural Society on 7 November 1820 and
was subsequently published in the Transactions of the Horticultural
Society (Sabine, 1822). Due to the detailed record it is known that not
all the ¯owers which had been crossed produced fruits, that Milne
was able to raise only seven hybrid plants and that of these a single
plant ¯owered, was exhibited to the Horticultural Society and was
drawn by Lindley. This drawing was used as the basis for a coloured
illustration included in the published account (Sabine, 1820).
How could a drawing of this extremely rare hybrid have been
made by Ferdinand Bauer, then living in Vienna? Two interpreta-
tions offer themselves: he could have received cuttings of the hybrid
plant, which would not be very surprising, since P. 6 violacea was
quickly distributed among passion ¯ower enthusiasts on the Con-
tinent (Kugler & Wetschnig, 1991, for further references). Alter-
natively, Ferdinand Bauer could have sketched Milne's hybrid in
England and prepared the ®nished watercolour during his ®nal
months in Vienna. Indeed, Ferdinand Bauer came to England in
1819 to visit his elder brother Franz, then based at Kew, and `soon
afterwards returned to Vienna' (Lhotsky, 1843). In short, one of the
most quali®ed illustrators then in England was probably asked to
illustrate the spectacular new hybrid in ¯ower; later, in Vienna,
Ferdinand Bauer produced A: f.38. First sketches of P.6violacea and
P. racemosa by Ferdinand Bauer ended up in the volume containing
un®nished drawings by Franz Bauer, forming No. 147 and 146,
and now in the Natural History Museum, London (see Chapter 3).

7. epilogue
When the actions of war are likely to affect a city, it is standard
policy to evacuate the more valuable objects. This was done by the
Preuûische Staatsbibliothek during the Second World War: the
greater part of its collections left Berlin in various directions.
Together with other manuscript material Ferdinand Bauer's pas-
sion ¯owers were brought to the monastery at GruÈssau [KrzeszoÂw],
then belonging to the province of Silesia. This evacuation was
successful ± the two volumes `Libri Picturati A 102' survived the
Second World War intact. After the armistice they were transferred
by the Polish authorities to the Biblioteka JagiellonÂska in Cracow.
They are still there, pending negotiations on possible restitution ± a

# Bentham-Moxon Trust 1999. 293

glory of this remarkable Polish library, a document of the out-
standing quali®cations of Ferdinand Bauer, rightly called the
`Leonardo of natural history illustration' (Smith, 1988), and a proof
of the early engagement of the Horticultural Society in botanical
science.

appendix
Ferdinand Bauer's list of passion ¯owers (Libri picturati A 102, volume B,
p. i±iv) 1. maliformis, 2. alata, 3. perfoliata, 4. rubra, 5. lunata, 6. cuneata,
7. furcata, 8. hirsuta, 9. gracilis, 10. ±, 11. adianthifolia, 12. ±, 13.
serratifolia, 14. quadrangularis, 15. angustifolia, 16. suberosa, 17. in-
carnata, 18. rubraecaule, 19. violacea, 20. ±, 21. minima, 22. ciliata, 23.
ciliata, 24. glauca, 25. ±, 26. ®limentosa, 27. pedata, 28. caerulea, 29.
cuprea, 30. laurifolia, 31. dicolor, 32. lutea, 33. peltata, 34. holosericea,
35. foetida, 36. hibiscifolia, 37. racemosa, 38. coeruleo-racemosa, 39. ±,
40. ±.
No. 6. Passi¯ora cuneata, so named by Baron de Jacquin in the Botanic
garden, the drawing was made from a plant which ¯owered in the
Imperial Garden at SchoÈnbrun.
No. 7. Passi¯ora furcata, is a plant which I have of that name amongst
my drawing which I made in England I believe by Mr Lee and this is
much like a plant they have here in the Botanic Garden, by the name
of P. ± tuberosa and in the garden at SchoÈbrun, by the name of P.
picta.
No. 8. Passi¯ora hirsuta, by that name I have this plant from Mr Aiton of
the Kings Garden at Kew, but here in the Imperial Garden at
SchoÈbrun I found this plant by the name of Passi¯ora minima.
Passi¯ora minima in Jacq. Hort. t.20 with this in the Botanic Garden
here is quite another plant, and will come in my next transport.
No. 9. Passi¯ora Gracilis, will be so named and published by B. de
Jacquin. This is a new plant from Brasil, in the Botanic Garden here
this is the second year in ¯ower.
No. 10. Passi¯ora ± this plant I have found on the banks of the river
Hawkesbury in New South Wales.
No. 12. Passi¯ora ± is the plant I found upon Norfolk Island from which
also the Passi¯ora Adianthifolia should come.

Acknowledgments. Thanks are due to Biblioteka JagiellonÂska, Cracow

for the permission to publish material in their custody. Prof D.J.
Mabberley (Sydney) and Prof W. Greuter (Berlin) kindly read an earlier
version of the manuscript.

294 # Bentham-Moxon Trust 1999.

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PLANTS IN PERIL, 25. BROMUS INTERRUPTUS

Benedict Lyte and Tom Cope
Summary. The history of the interrupted brome, Bromus interruptus
(Hack.) Druce (Gramineae), is presented, its origins and conservation
status are discussed.

According to the latest ®gures from the 1997 IUCN Red List of
Threatened Plants, 776 (or 9 per cent) of the c. 10,000 members of the
Gramineae are noted as being threatened (Walters & Gillett, 1997).
One of them, Bromus interruptus (Hack.) Druce has over the last
century attained a mystique not usually reserved for a species of
grass. Certainly, it would be fair to describe it as Britain's best
known extinct grass. The history and conservation status of the
species still causes much debate. Even today, argument rages as to
whether it is alien or endemic to the British Isles and to date, no-one
has conclusively proved its origins.
The plant was ®rst recorded in 1849 by a Miss A.M. Barnard
and a collection made from a ®eld in Odsey, Cambridgeshire.
These examples were studied by H.C. Watson who named it Bromus
pseudo-velutinus (Watson, 1850). Herbarium sheets were prepared
and these can now be found at Kew and Cambridge respectively.
There were no further observations or writings made of the plants
until July 1888.
G. Claridge Druce, an editor of the Botanical Exchange Club Journal
and acknowledged expert on the British ¯ora, came across the plant
in Berkshire in a `barren chalky ®eld' (Druce, 1895). In the previous
year a crop of barley had been grown there, but at the time Druce

# Bentham-Moxon Trust 1999. Published by Blackwell Publishers, 108 Cowley Road,

296 Oxford, OX4 1JF, UK and 350 Main Street, Malden, MA 02148, USA.