of thick skin of an Indian rhinoceros, or, as with the other inaccuracies, may simply be misunderstandings or creative additions by Dürer. Dürer also draws a scaly texture over the body of the animal, including the "armour". This may be Dürer's attempt to reflect the rough and almost hairless hide of the Indian rhinoceros, which has wart-like bumps covering its upper legs and shoulders. On the other hand, his depiction of the texture may represent dermatitis induced by the rhinoceros' close confinement during the four-month journey by ship from India to Portugal. A second woodcut was executed by Hans Burgkmair in Augsburg around the same time as Dürer's. Burgkmair corresponded with merchants in Lisbon and Nuremberg, but it is not clear whether he had access to a letter or sketch as Dürer did, perhaps even Dürer's sources, or saw the animal himself in Portugal. His image is truer to life, omitting Dürer's more fanciful additions and including the shackles and chain used to restrain the rhinoceros. However, Dürer's woodcut is more powerful and eclipsed Burgkmair's in popularity. Only one impression (example) of Burgkmair's image has survived, whereas Dürer's print survives in many impressions. Dürer produced a first edition of his woodcut in 1515. Many further printings followed after Dürer's death in 1528, including two in the 1540s, and two more in the late 16th century. The block passed into the hands of the Amsterdam printer and cartographer Willem Janssen (also called Willem Blaeu amongst other names). By this time the block was very damaged; the border lines were chipped, there were numerous woodworm holes and a pronounced crack had developed through the rhino's legs. Janssen decided to re-issue the block with the addition of a new tone block printed in a variety of colours, olive-green and dark green, as well as blue-grey. The resulting chiaroscuro woodcut, which entirely omitted the text, was published after 1620. There is an example in the British Museum. This was the seventh of the eight editions in all of the print. Despite its errors, the image remained very popular, and was as an accurate representation of a rhinoceros until the late 18th century. Dürer may have anticipated this and deliberately chosen to create a woodcut, rather than a more refined and detailed engraving, as this was cheaper to produce and more copies could be printed. A rhinoceros clearly based on Dürer's woodcut was chosen by