"While at the Hague, in the summer of 1838, I was much struck with the minuteness and accuracy with which the exotic species of animals had been painted by Savery and Breughel, in such subjects as Orpheus charming the Beasts, &c., in which scope was allowed for grouping together a great variety of animals. Understanding that the celebrated menagerie of Prince Maurice had afforded the living models to these artists, I sat down one day before Savery's Orpheus and the Beasts, to make a list of the species, which the picture sufficiently evinced that the artist had had the opportunity to study alive. Judge of my surprise and pleasure in detecting, in a dark corner of the picture, (which is badly hung between two windows,) the _Dodo_, beautifully finished, showing for example, though but three inches long, the auricular circle of feathers, the scutation of the tarsi, and the loose structure of the caudal plumes. In the number and proportions of the toes, and in general form, it accords with Edwards' oil-painting in the British Museum; and I conclude that the miniature must have been copied from the study of a living bird, which, it is most probable, formed part of the Mauritian menagerie. The bird is standing in profile with a lizard at its feet."--_Penny Cyclopædia_, xxiii. p. 143. Mr Strickland, in 1845, made a search through the Royal Gallery of Berlin, which was known to contain several of Savery's pictures. Among them, we are happy to say that he found one representing the Dodo, with numerous other animals, "in Paradise!" It was very conformable with the figure last mentioned; but what renders this, our third portrait, of peculiar interest, is, that it affords a date--the words "Roelandt Savery fe. 1626," being inscribed on one corner. As the artist was born in 1576, he must have been twenty-three years old when Van Neck's expedition returned to Holland; and as we are told by De Bry, in reference to the Mauritius, that "aliæ ibidem aves visæ sunt, quas walkvogel Batavi nominarunt, et _unam secum in Hollandiam importarunt_," it is quite possible that the portrait of this individual may have been taken at the time, and afterwards recopied, both by himself and his nephew, in their later pictures. Professor Owen leans to the belief that Prince Maurice's collection afforded the living prototype,--an opinion so far strengthened by Edwards's tradition, that the painting in the British Museum was drawn in Holland from a "living bird." Either view is preferable to Dr Hamel's suggestion, that Savery's representation was taken from the Dodo exhibited in London, as that individual was seen alive by Sir Hamon Lestrange in 1638, and must therefore (by no means a likely occurrence) have lived, in the event supposed, at least twelve years in captivity.