The first of these is the best known, and is that from which the figure of the Dodo, in all modern compilations of ornithology, has been copied. It once belonged to George Edwards, who, in his work on birds, (vi. 294,) tells us, that "the original picture was drawn in Holland _from the living bird_, brought from St Maurice's island in the East Indies, in the early times of the discovery of the Indies by the way of the Cape of Good Hope. It was the property of the late Sir H. Sloane to the time of his death, and afterwards becoming my property. I deposited it in the British Museum as a great curiosity. The above history of the picture I had from Sir H. Sloane, and the late Dr Mortimer, secretary to the Royal Society." It is still preserved in the place to which Edwards had consigned it, and may be seen in the bird gallery, along with the actual foot already mentioned. Although without name or date, the similarity both of design and execution, leads to the conclusion that it was by one or other of the Saverys. It may be seen engraved in the _Penny Cyclopædia_, in illustration of Mr Broderip's article _Dodo_ in that work. The second painting, one of Roland Savery's, is in the royal collection at the Hague, and may be regarded as a _chef-d'œuvre_. It represents Orpheus charming the creation, and we there behold the Dodo spell-bound with his other mute companions. All the ordinary creatures there shown are depicted with the greatest truthfulness; and why should the artist, delighting, as he seems to have done, in tracing the most delicate features of familiar nature, have marred the beautiful consistency of his design by introducing a feigned, or even an exaggerated representation? We may here adduce the invaluable evidence of Professor Owen.