are now rare. The shells, especially those whose _habitats_ are the seas of the Antilles, are at present very common; but at the date of the picture—the second year of the reign of our first Charles—the natural productions of the West Indies were not well known, and were, comparatively, very scarce. With the shells on the shore is the cranium of a carnivorous quadruped, apparently of the family _Canidæ_. The monster-cetacean in the distance has evidently no chance with the avenger who is coming down upon him mounted on a winged steed. But Pegasus, who, with other prodigies, sprang from the blood that dropped from Medusa’s head, as the conqueror who had cut it off with his harpe traversed the air with his gory trophy, immediately winged its flight to Helicon, there to become the pet of the Muses. The best version of this mythological story relates, that when Perseus afterwards killed the sea-monster and delivered Andromeda on the coast of Ethiopia, he effected his purpose by raising himself in the air through the aid of the wings and talaria given to him by Mercury, and not with the help of the winged horse on which most of the painters mount him. “Professor Owen informs me that Roland Savery’s picture containing the Dodo, in the Berlin collection, bears the date of 1626; and that the colour of the Dodo in the Duke of Northumberland’s picture resembles that of the portrait of the bird, of life size, by the same painter, now at Oxford. L’Estrange describes the hue of the back of the living Dodo which he saw exhibited in London ‘about 1638,’ as of ‘dunn or deare colour.’” The picture of the Dodo at Berlin by R. Savery, to which Mr. Broderip refers, is copied in figure 1, Plate I. Another figure of the bird, by the same artist, is introduced into a painting in the Imperial Collection of the Belvedere at Vienna. Fig. 3, Plate I. of the present work, is from the copy of this picture, transmitted by Dr. Tschudi to Mr. Strickland, and given at p. 30 of the ‘Dodo and its Kindred.’ The date of the picture is 1628.