and subsequent studies on the King and Kangaroo Island emus, notably by Shane A. Parker in 1984, confirmed their separate geographic origin and distinct morphology. Parker named the Kangaroo Island bird Dromaius baudinianus, after the leader of the French expedition. He based it on a subfossil specimen from Kangaroo Island, South Australia. Specimen SAM B689Ib, a left tarsometatarsus, is the holotype. The subspecies is known from historical observer accounts and from bones, including sets deposited at the South Australian Museum. The mounted skin that can be seen at the Natural History Museum of Geneva in Switzerland and the skeleton exhibited in the Natural History Museum of Paris belong to the same individual. The Geneva specimen is thus the only skin left of this taxon. It is believed that this emu lived in the interior forest. The subspecies' extinction has been attributed to hunting and habitat clearance through burning. Relationship with humans Several emu specimens belonging to the different subspecies were sent to France, both alive and dead, as part of the expedition. Some of these are in European museums today. Le Naturaliste brought one live specimen and one skin of the mainland emu to France in June 1803. Le Géographe collected emus from both King and Kangaroo Island, and at least two live King Island individuals, assumed to be a male and female by some sources, were taken to France in March 1804. This ship also brought skins of five juveniles collected from different islands. Two of these skins, of which the provenance is unknown, are presently kept in Paris and Turin; the rest are lost. Peron's 1807, three-volume account of the expedition, Voyage de découverte aux terres Australes, contains an illustration (plate 36) of "casoars" by Charles-Alexandre Lesueur, who was the resident artist during Baudin's voyage. The caption states the birds shown are from "Ile Decrès", the French name for Kangaroo Island, but there is confusion over what is actually depicted. The two adult birds are labelled as a male and female of the same subspecies, surrounded by juveniles. The family-group shown is improbable, since breeding pairs of the mainland emu split up once the male begins incubating the eggs. Lesueur's preparatory sketches also indicate these may have been drawn after the captive birds in Jardin des Plantes, and not wild ones, which would have been harder to observe for extended periods. The Australian museum curator, Stephanie Pfennigwerth, has