on the coast of Liguria. The rhinoceros, chained and shackled to the deck to keep it under control, was unable to swim to safety and drowned. The carcass of the rhinoceros was recovered near Villefranche, and its hide was returned to Lisbon, where it was stuffed. Some reports say that the mounted skin was sent to Rome, arriving in February 1516, to be exhibited impagliato (Italian for "stuffed with straw"), although such a feat would have challenged 16th-century methods of taxidermy, which were still primitive. If a stuffed rhinoceros did arrive in Rome, its fate remains unknown: it might have been removed to Florence by the Medici or destroyed in the 1527 sack of Rome. In any event, there was not the popular sensation in Rome that the living beast had caused in Lisbon, although a rhinoceros was depicted in contemporary paintings in Rome by Giovanni da Udine and Raphael. Dürer's woodcut Valentim Fernandes, a Moravian merchant and printer, saw the rhinoceros in Lisbon shortly after it arrived and described it in a newsletter sent to the Nuremberg community of merchants in June 1515. The original document in German has not survived, but a transcript in Italian is held in the Biblioteca Nazionale Centrale in Florence. A second letter of unknown authorship was sent from Lisbon to Nuremberg at around the same time, enclosing a sketch by an unknown artist. Dürer – who was acquainted with the Portuguese community of the factory at Antwerp – saw the second letter and sketch in Nuremberg. He made a pen and ink drawing} and printed a reversed reflection of it. The German inscription on the woodcut is largely drawing from Pliny's account and reads: Dürer's woodcut is not an accurate representation of a rhinoceros. He depicts an animal with hard plates that cover its body like sheets of armour, with a gorget at the throat, a solid-looking breastplate, and rivets along the seams. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. None of these features is present in a real rhinoceros. Glynis Ridley suggested that it is possible that a suit of armour was forged for the rhinoceros's fight against the elephant in Portugal and that the features depicted by Dürer are parts of the armour, however, there is no mention of this in Bedini. Alternatively, Dürer's "armour" may represent the heavy folds