28 PICTORIAL EVIDENCES [Parr I. 
Section I1.—Pictorial Evidences—Picture in the British Museum—Roland Savery’s picture at the Hague ; 
his picture at Berlin; his picture at Vienna—John Savery’s picture at Oxford. 
Tue next series of evidences to be adduced are those derived from contemporary paintings. 
We have seen that the narratives of the early voyagers are in several instances accompamed 
by rude delineations of Dodos, but besides these we possess certain oil paintings of this bird 
by artists of great merit, who apparently aimed only at correctly representing the object before 
them. All these pictures, except one, closely resemble each other, and though exhibiting 
slight variations, they seem to have been taken from one original design. They moreover 
agree sufficiently well with the engravings in the early voyages, to leave no doubt of their 
being intended for the same species of bird. Five of these paintings are now known to exist ; 
one of these is anonymous, three bear the name of Roland Savery, an eminent Dutch animal 
painter in the beginning of the 17th century, and one is by John Savery, the nephew of Roland. 
1. The first of these paintings, and the best known, is that from which the figure of the 
Dodo in all modern books of natural history has been copied. This picture was once the 
property of the artist, George Edwards, who in his work on Birds, vol. vi, pl. 294, tells us, 
“The original picture was drawn in Holland from the living bird, brought from St. Maurice’s 
