We have thus evidence of figures of the bird being introduced into paintings executed during the years 1626, 1627, and 1628. The different attitudes and life-like actions of the Dodo, in these representations, indicate that the artists had a living model before them. Their original studies may, indeed, have been executed at some period antecedent to the dates of the paintings into the subjects of which this rare and curious bird is introduced; but the capital fact remains, viz. that the figures given in Plate I. faithfully represent the shape, colour, and attitudes of the now extinct brevipennate bird of the Mauritius. Different conjectures have been propounded as to the time, place, and other circumstances under which Roelandt Savery and Jean Goeimare were enabled to execute their drawings or studies of the living Dodo, and I had the satisfaction to find that Mr. Strickland concurred in the conclusion at which I arrived after my researches in Holland into the history and evidences of the bird. “As Roland Savery was born in 1576, he was twenty-three years old when Van Neck’s expedition returned to Holland, and as we are told by De Bry that the Dutch brought home a Dodo on that occasion, it is possible enough that Savery may have taken the portrait of this individual, and that the design thus made may have been copied by himself and by his nephew John in their later pictures. Or if we feel disposed to doubt the correctness of De Bry’s statement, we may yet suppose, with Professor Owen, that the menagerie of Prince Maurice supplied the living prototype for Savery’s pencil. This opinion is corroborated by the tradition recorded by Edwards, that the picture in the British Museum was drawn in Holland from the living bird. It is far more probable than the conjecture of Dr. Hamel (Bull. Ac. Petersb. vol. v. p. 317), that Savery’s pictures were copied from the Dodo exhibited in London, as this individual must in that case have lived in captivity at least twelve years, from 1626 to 1638[15].”