“I little thought, when, with his permission, I published this graphic product of my kind friend’s pen, what was in store for me. Not long afterwards, a friend informed me that he had seen a picture at a dealer’s painted by one of the Saverys, and that he was pretty sure there was a Dodo in one corner of it. I sent for the picture, and there, sure enough, in the right-hand corner, and consequently to the left of the spectator, was the bird, in all the beauty of its ugliness. The Dodo stands on one foot with its back to the spectator, and turning round its head, which is represented with the huge bill picking the other uplifted foot. Like all the rest of the birds in this picture, which bears the name of Roland Savery, the Dodo is highly finished. The picture is now in my possession[11].” The figure 2 in Plate I. is a faithful copy of the bird as represented in it. Whilst on a visit to Sion House I was unexpectedly gratified by finding, in a small oil-painting in the long gallery, an unequivocal and original representation of the Dodo, in an attitude different from that of any of the figures of the living bird by Roland Savery, and evidently by another master. I lost no time in communicating this additional evidence of the extinct bird to Mr. Broderip, and in obtaining the permission of my noble host to make such use of the painting as might best subserve the interests of Natural History. Mr. Broderip communicated to the Zoological Society the following:— “_Notice of an Original Painting, including a Figure of the Dodo, in the Collection of His Grace the Duke of Northumberland, at Sion House._ [Illustration] “Professor Owen, at whose disposal the Duke of Northumberland placed the following additional pictorial evidence of the existence of the Dodo in the seventeenth century, has requested me to draw the attention of this Society to the highly interesting picture which the Duke has been so good as to send for the inspection of the Fellows. The size of the picture, which is in the finest preservation, is thirty-two inches by nineteen. It is executed in oil, and bears the following monogram and date. Mr. William Russell, with his usual discernment, detected in this monogram the signatures of Jean Goeimare and Jean David de Heem, and proved the correctness of his judgment by a reference to Brulliot[12]. Jean Goeimare, who is not noticed by Descamps, Bryan, Sandrart, or Houbraken, is described by Brulliot as a Flemish artist who flourished at the commencement of the seventeenth century, and painted landscapes with many animals, executed with great care, but in rather a dry manner[13]. Of De Heem, the celebrated painter of still life, it would be superfluous to say anything. We may conclude, then, that in this joint production the landscape and animals were painted by Goeimare, and the shells by De Heem. [Illustration: Fig. 5.