page_title: Dodo
section_title: Contemporary depictions
hierarchical_section_title: Dodo / Description / Contemporary depictions
caption_attribution_description: One of the most famous and often-copied paintings of a Dodo specimen, as painted by Roelant Savery in the late 1620s. The image came into the possession of the ornithologist George Edwards, who later gave it to the British Museum, hence the name. The bird swallowing a frog in the lower right may be the likewise extinct Red Rail. It has also been suggested that the two parrots are the extinct Lesser Antillean Macaw (left) and Martinique Macaw (right).
context_page_description: The dodo is an extinct flightless bird that was endemic to the island of Mauritius, east of Madagascar in the Indian Ocean. The dodo's closest genetic relative was the also-extinct Rodrigues solitaire, the two forming the subfamily Raphinae of the family of pigeons and doves. The closest living relative of the dodo is the Nicobar pigeon. A white dodo was once thought to have existed on the nearby island of Réunion, but this is now thought to have been confusion based on the Réunion ibis and paintings of white dodos.
  Subfossil remains show the dodo was about 1 metre tall and may have weighed 10.6–17.5 kg in the wild. The dodo's appearance in life is evidenced only by drawings, paintings, and written accounts from the 17th century. As these vary considerably, and only some of the illustrations are known to have been drawn from live specimens, its exact appearance in life remains unresolved, and little is known about its behaviour. Though the dodo has historically been considered fat and clumsy, it is now thought to have been well-adapted for its ecosystem.
context_section_description: The travel journal of the Dutch ship Gelderland (1601–1603), rediscovered in the 1860s, contains the only known sketches of living or recently killed specimens drawn on Mauritius. They have been attributed to the professional artist Joris Joostensz Laerle, who also drew other now-extinct Mauritian birds, and to a second, less refined artist. Apart from these sketches, it is unknown how many of the twenty or so 17th-century illustrations of the dodos were drawn from life or from stuffed specimens, which affects their reliability. Since dodos are otherwise only known from limited physcal remains and descriptions, contemporary artworks are important to reconstruct their appearance in life. While there has been an effort since the mid-19 century to list all historical illustrations of dodos, previously unknown depictions continue to be discovered occasionally.
  The traditional image of the dodo is of a very fat and clumsy bird, but this view may be exaggerated. The general opinion of scientists today is that many old European depictions were based on overfed captive birds or crudely stuffed specimens. It has also been suggested that the images might show dodos with puffed feathers, as part of display behaviour. The Dutch painter Roelant Savery was the most prolific and influential illustrator of the dodo, having made at least twelve depictions, often showing it in the lower corners. A famous painting of his from 1626, now called Edwards's Dodo as it was once owned by the ornithologist George Edwards, has since become the standard image of a dodo. It is housed in the Natural History Museum, London. The image shows a particularly fat bird and is the source for many other dodo illustrations.
  An Indian Mughal painting rediscovered in the Hermitage Museum, St. Petersburg, in 1955 shows a dodo along with native Indian birds. It depicts a slimmer, brownish bird, and its discoverer Aleksander Iwanow and British palaeontologist Julian Hume regarded it as one of the most accurate depictions of the living dodo; the surrounding birds are clearly identifiable and depicted with appropriate colouring. It is believed to be from the 17th century and has been attributed to the Mughal painter Ustad Mansur. The bird depicted probably lived in the menagerie of the Mughal Emperor Jahangir, located in Surat, where the English traveller Peter Mundy also claimed to have seen two dodos sometime between 1628 and 1633. In 2014, another Indian illustration of a dodo was reported, but it was found to be derivative of an 1836 German illustration.
  All post-1638 depictions appear to be based on earlier images, around the time reports mentioning dodos became rarer. Differences in the depictions led ornithologists such as Anthonie Cornelis Oudemans and Masauji Hachisuka to speculate about sexual dimorphism, ontogenic traits, seasonal variation, and even the existence of different species, but these theories are not accepted today. Because details such as markings of the beak, the form of the tail feathers, and colouration vary from account to account, it is impossible to determine the exact morphology of these features, whether they signal age or sex, or if they even reflect reality. Hume argued that the nostrils of the living dodo would have been slits, as seen in the Gelderland, Cornelis Saftleven, Savery's Crocker Art Gallery, and Ustad Mansur images. According to this claim, the gaping nostrils often seen in paintings indicate that taxidermy specimens were used as models. Most depictions show that the wings were held in an extended position, unlike flighted pigeons, but similar to ratites such as the ostrich and kiwi.
caption: The famous Edwards's Dodo, painted by Savery in 1626
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