The dodo (Raphus cucullatus) is an extinct flightless bird that was endemic to the island of Mauritius, which is east of Madagascar in the Indian Ocean. The dodo's closest relative was the also-extinct and flightless Rodrigues solitaire. The two formed the subtribe Raphina, a clade of extinct flightless birds that are a part of the group that includes pigeons and doves (the family Columbidae). The closest living relative of the dodo is the Nicobar pigeon (pictured below).
A white dodo was once thought to have existed on the nearby island of Réunion, but it is now believed that this assumption was merely confusion based on the also-extinct Réunion ibis and paintings of white dodos.
Most contemporary descriptions of the dodo are found in ship's logs and journals of the Dutch East India Company vessels that docked in Mauritius when the Dutch Empire ruled the island. These records were used as guides for future voyages. Few contemporary accounts are reliable, as many seem to be based on earlier accounts, and none were written by scientists. One of the earliest accounts, from van Warwijck's 1598 journal, describes the bird as follows:
Blue parrots are very numerous there, as well as other birds; among which are a kind, conspicuous for their size, larger than our swans, with huge heads only half covered with skin as if clothed with a hood. These birds lack wings, in the place of which 3 or 4 blackish feathers protrude. The tail consists of a few soft incurved feathers, which are ash coloured. These we used to call 'Walghvogel', for the reason that the longer and oftener they were cooked, the less soft and more insipid eating they became. Nevertheless their belly and breast were of a pleasant flavour and easily masticated.
One of the most detailed descriptions is by Herbert in A Relation of Some Yeares Travaille into Afrique and the Greater Asia from 1634:
First here only and in Dygarrois [Rodrigues] is generated the Dodo, which for shape and rareness may antagonize the Phoenix of Arabia: her body is round and fat, few weigh less than fifty pound. It is reputed more for wonder than for food, greasie stomackes may seeke after them, but to the delicate they are offensive and of no nourishment. Her visage darts forth melancholy, as sensible of Nature's injurie in framing so great a body to be guided with complementall wings, so small and impotent, that they serve only to prove her bird. The halfe of her head is naked seeming couered with a fine vaile, her bill is crooked downwards, in midst is the thrill [nostril], from which part to the end tis a light green, mixed with pale yellow tincture; her eyes are small and like to Diamonds, round and rowling; her clothing downy feathers, her train three small plumes, short and inproportionable, her legs suiting her body, her pounces sharpe, her appetite strong and greedy. Stones and iron are digested, which description will better be conceived in her representation.
The traditional image of the dodo is of a very fat and clumsy bird, but this view may be exaggerated. The general opinion of scientists today is that many old European depictions were based on overfed captive birds or crudely stuffed specimens. It has also been suggested that the images might show dodos with puffed feathers, as part of display behaviour. The Dutch painter Roelant Savery was the most prolific and influential illustrator of the dodo, having made at least twelve depictions, often showing it in the lower corners. A famous painting of his from 1626, now called Edwards's Dodo as it was once owned by the ornithologist George Edwards, has since become the standard image of a dodo. It is housed in the Natural History Museum, London. The image shows a particularly fat bird and is the source for many other dodo illustrations.
Edward's Dodo.
An Indian Mughal painting rediscovered in the Hermitage Museum, St. Petersburg, in 1955 shows a dodo along with native Indian birds. It depicts a slimmer, brownish bird, and its discoverer Aleksander Iwanow and British palaeontologist Julian Hume regarded it as one of the most accurate depictions of the living dodo; the surrounding birds are clearly identifiable and depicted with appropriate colouring. It is believed to be from the 17th century and has been attributed to the Mughal painter Ustad Mansur. The bird depicted probably lived in the menagerie of the Mughal Emperor Jahangir, located in Surat, where the English traveller Peter Mundy also claimed to have seen two dodos sometime between 1628 and 1633.
A possible more accurate Dodo.
A 1631 Dutch letter (long thought lost, but rediscovered in 2017) is the only account of the dodo's diet, and also mentions that it used its beak for defence. The document uses word-play to refer to the animals described, with dodos presumably being an allegory for wealthy mayors:
The mayors are superb and proud. They presented themselves with an unyielding, stern face and wide open mouth, very jaunty and audacious of gait. They did not want to budge before us; their war weapon was the mouth, with which they could bite fiercely. Their food was raw fruit; they were not dressed very well, but were rich and fat, therefore we brought many of them on board, to the contentment of us all.
In addition to fallen fruits, the dodo probably subsisted on nuts, seeds, bulbs, and roots. It has also been suggested that the dodo might have eaten crabs and shellfish, like their relatives the crowned pigeons. Its feeding habits must have been versatile, since captive specimens were probably given a wide range of food on the long sea journeys. Oudemans suggested that as Mauritius has marked dry and wet seasons, the dodo probably fattened itself on ripe fruits at the end of the wet season to survive the dry season, when food was scarce; contemporary reports describe the bird's "greedy" appetite. The Mauritian ornithologist France Staub suggested in 1996 that they mainly fed on palm fruits, and he attempted to correlate the fat-cycle of the dodo with the fruiting regime of the palms.
Even though the rareness of the dodo was reported already in the 17th century, its extinction was not recognised until the 19th century. This was partly because, for religious reasons, extinction was not believed possible until later proved so by Georges Cuvier, and partly because many scientists doubted that the dodo had ever existed. It seemed altogether too strange a creature, and many believed it a myth. The bird was first used as an example of human-induced extinction in Penny Magazine in 1833, and has since been referred to as an "icon" of extinction.
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