Owen got it wrong when he first put his dodo together. He has based it on that early savory painting. Yeah, so using the bones he procured, he still tried to make them squish into this round, fat dodo. And such was Owen's influence that what he said was the fact, was the truth, and it stayed with us. But Julian has now spent decades hunting for new dodo bones. These are more of your paintings, aren't they? They are. They're beautiful. And as time has passed, his view of what the dodo really looked like has changed dramatically. And I can see that there's quite a difference between, your portrayal the dodo, between this and that one. I must admit that even I've changed my ideas in my lifetime. I started out using the what was then known about the dodo, back about 20 years ago now, having reconstructed a dodo in the fat phase, it's really obese, then going along with the flow at the time. Yeah. But since then, of course, we have had so much more information. And now, this second one, is after I've been to Mauritius a number of times, well we've incorporated correct vegetation and the dodo becomes much much slimmer. Much slimmer, much more realistic. Indeed.


但欧文第一次却走错了方向，他根据的是早期的画卷，所以他仍试图用手中的骨骼，拼凑出一个肥大的渡渡鸟身躯。鉴于欧文的影响力，公众对他的言论很信服。 于是我们还保存着它，数十年来朱利安一直在探寻新的渡渡鸟骨。 这也是你收藏的画作，对吗？ -说得对 -真漂亮 随着时间的推移，他对渡渡鸟的认识，有了戏剧性的转变。它们之间差别挺大，我必须承认，连我也改变了看法。 20年前，我利用当时掌握的资料，进行创作，重现了渡渡鸟肥胖阶段的形象。它真的太胖了。这是跟随了当时的思想潮流，当然那时我们手中已经有足够多的资料。第二幅画是我从毛里求斯回来后，结合当时正确的植被样貌，而创作成瘦些的渡渡鸟形象。 -瘦一点，也更写实。 -的确