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Assembling the dodo in early modern natural history
Published online by Cambridge University Press: 23 February 2015
Abstract
This paper explores the assimilation of the flightless dodo into early modern natural history. The dodo was first described by Dutch sailors landing on Mauritius in 1598, and became extinct in the 1680s or 1690s. Despite this brief period of encounter, the bird was a popular subject in natural-history works and a range of other genres. The dodo will be used here as a counterexample to the historical narratives of taxonomic crisis and abrupt shifts in natural history caused by exotic creatures coming to Europe. Though this bird had a bizarre form, early modern naturalists integrated the dodo and other flightless birds through several levels of conceptual categorization, including the geographical, morphological and symbolic. Naturalists such as Charles L'Ecluse produced a set of typical descriptive tropes that helped make up the European dodo. These long-lived images were used for a variety of symbolic purposes, demonstrated by the depiction of the Dutch East India enterprise in Willem Piso's 1658 publication. The case of the dodo shows that, far from there being a dramatic shift away from emblematics in the seventeenth century, the implicit symbolic roles attributed to exotic beasts by naturalists constructing them from scant information and specimens remained integral to natural history.
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- The British Journal for the History of Science , Volume 48 , Issue 3 , September 2015 , pp. 387 - 408
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- Copyright © British Society for the History of Science 2015
References
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47 Petrus Plancius's Orbis terrarum … (1594) is a good example of this geographical imagery. For an example of ‘collecting the world’ in the colonial context see Rebecca P. Brienen, ‘From Brazil to Europe: the zoological drawings of Albert Eckhout and Georg Marcgraf’, in Enenkel and Smith, op. cit. (12), pp. 279–82; also Shelton, Anthony Alan, ‘Cabinets of transgressions: Renaissance collections and the incorporation of the New World’, in Elsner, John and Cardinal, Roger, The Cultures of Collecting (Critical Views), London: Reaktion Books, 2004, pp. 177–203Google Scholar.
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81 The connections between natural history and art were manifold in this period, as demonstrated for the birds of paradise in Marcaida, José Ramón, ‘Rubens and the bird of paradise: painting natural knowledge in the early seventeenth century’, Renaissance Studies (2014) 28(1), pp. 112–127CrossRefGoogle Scholar. Several historians have described how artists included an encyclopedic array of novel exotica in their paintings, where they played both symbolic and allegorical functions. For example, see Leonhard, op. cit. (13), pp. 177–214.
82 Currently at the Gemäldegalerie Alte Meister der Staatliche Museen zu Berlin. Parish, op. cit. (1), p. 79.
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84 See Parish, op. cit. (1), Chapter 3, for a full account of these images.
85 My thanks to Dániel Margócsy for bringing these paintings to my attention.
86 Possible models for Savery's paintings are the stuffed specimen in Amsterdam, Rudolf II's specimen at Prague, Maurits of Nassau's menagerie bird, and a number of other birds speculated to have been imported. Parish, op. cit. (1), pp. 76–77, suggests that the Amsterdam bird was probably the model.
87 Jorink, op. cit. (12), pp. 147–176; Sleigh, op. cit. (11). This persistence is demonstrated by the enduring popularity of emblem books through this period (John Manning, The Emblem, London: Reaktion Books, 2002, p. 14; Praz, Mario, Studies in Seventeenth-Century Imagery, 2nd edn, Rome: Storia e Letteratura, 2001Google Scholar, pp. 15, 199, 201), as well as by work on the use of the ‘poison’ upas tree as a malleable symbol of colonial interactions (Dove, Michael and Carpenter, Carol, ‘The “poison tree” and the changing vision of the Indo-Malay realm’, in Wadley, Reed L. (ed.), Histories of the Borneo Environment: Economic, Political and Social Dimensions of Change and Continuity, Leiden: KITLV Press, 2005, pp. 183–212CrossRefGoogle Scholar).
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103 Schmidt, op. cit. (37), pp. 129–131.
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