Very recently Dr J. J. de Tchudi, the well-known Peruvian traveller, transmitted to Mr Strickland an exact copy of another figure of the Dodo, which forms part of a picture in the imperial collection of the Belvedere at Vienna--by no means a safe location, in these tempestuous times, for the treasures of either art or nature. But we trust that Prince Windischgratz and the hanging committee will now see that all is right, and that General Bem has not been allowed to carry off this drawing of the Dodo in his carpet-bag. It is dated 1628. "There are two circumstances," says Mr Strickland, "which give an especial interest to this painting. First, the novelty of attitude in the Dodo, exhibiting an activity of character which corroborates the supposition that the artist had living model before him, and contrasting strongly with the aspect of passive stolidity in the other pictures. And, secondly, the Dodo is represented as watching, apparently with hungry looks, the merry wriggling of an eel in the water! Are we hence to infer that the Dodo fed upon eels? The advocates of the Raptorial affinities of the Dodo, of whom we shall soon speak, will doubtless reply in the affirmative; but, as I hope shortly to demonstrate that it belongs to a family of birds all the other members of which are frugivorous, I can only regard the introduction of the eel as a pictorial license. In this, as in all his other paintings, Savery brought into juxtaposition animals from all countries, without regarding geographical distribution. His delineations of birds and beasts were wonderfully exact, but his knowledge of natural history probably went no further; and although the Dodo is certainly _looking at_ the eel, yet we have no proof that he is going to _eat_ it. The mere collocation of animals in an artistic composition, cannot be accepted as evidence against the positive truths revealed by comparative anatomy."--(P. 30.) The fifth and last old painting of the Dodo, is that now in the Ashmolean Museum at Oxford, and presented to it by Mr Darby in 1813. Nothing is known of its previous history. It is the work of John Savery, the nephew of Roland, and is dated 1651. Its most peculiar character is the colossal scale on which it has been designed,--the Dodo of this canvass standing about three feet and a half in height.