It was regarded as a true representation of a rhinoceros into the late 18th century, and it has been said of Dürer's woodcut that "probably no animal picture has exerted such a profound influence on the arts". None of these features are present in a real rhinoceros, although the Indian rhinoceros does have deep folds in its skin that can look like armor from a distance.ĭürer's woodcut became very popular in Europe and was copied many times in the following three centuries. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. He depicts an animal with hard plates that cover its body like sheets of armor, with a gorget at the throat, a solid-looking breastplate, and what appear to be rivets along the seams. ĭürer's woodcut is not an accurate representation. Another live rhinoceros was not seen again until Abada arrived from India to the court of Sebastian of Portugal in 1577. Later that year, the King of Portugal, Manuel I, sent the animal as a gift for Pope Leo X, but it died in a shipwreck off the coast of Italy. Instead the image is based on an anonymous written description and brief sketch of an Indian rhinoceros brought to Lisbon in 1515. Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. Inscribed on the verso, in the lower left-hand corner, by a later hand in brown ink, “rhinoceros”.This impression, National Gallery of Art, Washingtonĭürer's Rhinoceros is the name commonly given to a woodcut executed by German artist Albrecht Dürer in 1515. The animal is called rhinoceros in Greek and Latin but in India, gouda” For he is well armed, very lively and alert. The elephant is greatly afraid of the Rhinocerate for he always gores it whenever he meets an elephant. Then it rips the elephant where its skin is thinnest and then gores it. It has on the front of the nose a strong sharp horn: and when this animal comes near the elephant to fight it always first whets its horn on the stones and runs at the elephant with his head between its forelegs. It has the colour of a toad and is covered all over with thick scales, and in size it is as large as an elephant, but lower, and is the deadly enemy of the elephant. Because it is such a marvel I considered that I must send this representation. “In the year 153 on 1 May was brought to our King of Portugal in Lisbon such a living animal from India called a Rhinocerate. “Ite in 153 jor adi i maÿ hat man unserm küng van portigall gen lisabona procht ein sold lebedig tir aws India das nent man Rhynocerate das hab ich dir von Wunders wegen müssen abkunterfet schicken hat ein farb wÿ ein / krot vnd van dicken schaln überleg fast fest vnd ist in dr gros als ein helffant aber nÿdrer vnd ist des helfantz tott feint es hat for awff der nasen ein starck scharff hore und so dz tir an helfant Kumt mit jm zw fechten so hat es for albeg sein / hore an den steinen scharbff gewestzt vnd lauff dem helfant mit dem Kopff zwischen dy fordere pein dan reist es den helfant awff wo er am düsten hawt hat vnd erwürgt jn also der helfant fürcht jn ser übell den Rhÿnocerate dan er erwürgt jn albeg wo er den helfant aukumt dan er ist woll gewapent vnd ser freidig und behent Dz tir würt Rhinocero in greco et latino Indico vero gomda“ Inscribed by the artist in brown ink along the upper edge, “RHINOCERON 1515” and along the lower edge with a note probably transcribed from a newsletter:
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