Alessandro de' Medici as his emblem in June 1536, with the motto "Non vuelvo sin vencer" (old Spanish for "I shall not return without victory"). A sculpture of a rhinoceros based on Dürer's image was placed at the base of a 70-foot (21 m) high obelisk designed by Jean Goujon and erected in front of the Church of the Sepulchre in the rue Saint-Denis in Paris in 1549 for the royal entry welcoming the arrival of the new King of France, Henry II. A similar rhinoceros, in relief, decorates a panel in one of the bronze west doors of Pisa Cathedral. The rhinoceros was depicted in numerous other paintings and sculptures and became a popular decoration for porcelain. The popularity of the inaccurate Dürer image remained undiminished despite an Indian rhinoceros spending eight years in Madrid from 1580 to 1588 (although a few examples of a print of the Madrid rhinoceros sketched by Philippe Galle in Antwerp in 1586, and derivative works, have survived), and the exhibition of a live rhinoceros in London a century later, from 1684–86, and of a second individual after 1739. The pre-eminent position of Dürer's image and its derivatives declined from the mid 18th century when more live rhinoceroses were brought to Europe, shown to the curious public, and depicted in more accurate representations. Jean-Baptiste Oudry painted a life-size portrait of Clara the rhinoceros in 1749, and George Stubbs painted a large portrait of a rhinoceros in London around 1790. Both of these paintings were more accurate than Dürer's woodcut, and a more realistic conception of the rhinoceros gradually started to displace Dürer's image in the public imagination. In particular, Oudry's painting was the inspiration for a plate in Buffon's encyclopedic Histoire naturelle, which was widely copied. In 1790, James Bruce's travelogue Travels to discover the source of the Nile dismissed Dürer's work as "wonderfully ill-executed in all its parts" and "the origin of all the monstrous forms under which that animal has been painted, ever since". Even so, Bruce's own illustration of the African white rhinoceros, which is noticeably different in appearance to the Indian rhinoceros, still shares conspicuous inaccuracies with Dürer's work. The semiotician Umberto Eco argues (fetching the idea from E.H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, 1961) that Dürer's "scales and imbricated plates" became a necessary element of depicting the animal, even to those who