w 



tunity thus given for collecting and by 28 July tliey had 'collected every- 

 thing'. On 11 August Cook landed at Point Lookout [m], on 12 August 

 on Lizard Island [m] ; the northemmost point of Queensland, Cape York, 

 was passed on 21st August. Cook landed next day with Banks and 

 Solander on Possession Island [n] and formally 'hoisted English Cou- 

 lers and in the Name of His Majesty King George the Third took posses- 

 sion of the whole Eastern Coast from the above Latitude [38° 3'] down 

 to this place by the name of New South Wales, together with all the 

 Bays, Harbours, Rivers and Islands situate upon the said coast' On 

 23 August 1770 the Endeavour sailed away from Australia for ever, 

 reaching Batavia on 10 October 1770 and England on 12 July 1771. 



From this short survey of Cook's voyage along the eastern side of 

 Australia it is evident that most of the botanical specimens collected 

 there came from Botany Bay near Sydney, New South Wales, and from 

 the neighbourhood of Cooktown, at the mouth of the Endeavour River, 

 Queensland. 



The material brought back included not only herbarium specimens 

 (which became part of Banks's private herbarium and passed to the 

 British Museum in 1827) and seeds for the Royal Garden at Kew (which 

 thereby initiated the period of plant introduction into European gardens 

 termed by Gregor Kraus the 'Zeit der Neuhollander') but also 955 

 drawings by Sidney Parkinson, who died on the voyage in 1771, at 

 Batavia, and a few by Herman Diedrich Sporing, who died two days 

 befoHe Parkinson, and by Alexander Buchan, who died in 1769, at 

 Tahiti. Influenced, it would seem, by the insistence of his friend the 

 antiquary Thomas Falconer (cf. Smith, 1960: 11) that he should have 

 a 'designer' with him on a proposed tour of Lapland, Banks thus em- 

 ployed three artists on the South Sea voyage which took its place. Par- 

 kinson's primary task was to portray animals and plants, Buchan's to 

 portray landscapes and people, Sporing's presumably animals, but they 

 evidently shared tasks. Their work proved of such value not only to 

 naturalists but also to navigators (whose charts they supplemented with 

 accurate coastal profiles) that on Flinders's voyage later Robert Brown 

 had as companions likewise two artists, namely Ferdinand Bauer (1760- 

 1826) and William Westall (1781-1850), the one to record plants and 

 animals, the other scenery. The effect which the naturalists' empirical 

 approach to nature had upon landscape painting by their artist com- 

 panions and also upon art generally as a result of these voyages into 

 the South Pacific is discussed by Bernard Smith (1960). Banks un- 



