The stone-carved Zimbabwe Bird is the national emblem of Zimbabwe, appearing on the national flags and coats of arms of both Zimbabwe and Rhodesia, as well as on banknotes and coins (first on the Rhodesian pound and then on the Rhodesian dollar). It probably represents the bateleur eagle (Terathopius ecaudatus) or the African fish eagle (Haliaeetus vocifer). The bird's design is derived from a number of soapstone sculptures found in the ruins of the medieval city of Great Zimbabwe. It is now the definitive icon of independent Zimbabwe, with Matenga (2001) listing over 100 organisations which now incorporate the Bird in their logo. Origins The original carved birds are from the ruined city of Great Zimbabwe, which was built by ancestors of the Shona, starting in the 11th century and inhabited for over 300 years. The ruins, after which modern Zimbabwe was named, cover some and are the largest ancient stone construction in sub-Saharan Africa. Among its notable elements are the soapstone bird sculptures, about tall and standing on columns more than tall, which were originally installed on walls and monoliths within the city. They are unique to Great Zimbabwe; nothing like them has been discovered elsewhere. Various explanations have been advanced to explain the symbolic meaning of the birds. One suggestion is that each bird was erected in turn to represent a new king, but this would have required improbably long reigns. More probably, the Zimbabwe birds represent sacred or totemic animals of the Shona – the bateleur eagle (Shona: chapungu), which was held to be a messenger from Mwari (God) and the ancestors, or the fish eagle (hungwe) which it has been suggested was the original totem of the Shona. Colonial acquisition and return to Zimbabwe In 1889 a European hunter, Willi Posselt, travelled to Great Zimbabwe after hearing about it from another European explorer, Karl Mauch. He climbed to the highest point of the ruins despite being told that it was a sacred site where he should not trespass, and found the birds positioned in the centre of an enclosure around an apparent altar. He later wrote: Posselt compensated Andizibi with a payment of blankets and "some other articles". As the bird on its pedestal was too heavy for him to carry, he hacked it off and hid the pedestal with the intention of returning later to retrieve it. He subsequently sold his bird to Cecil Rhodes,