Cross-Cultural Transmission of the Images of “The Story of Three Fishes” in Ancient Europe and Asia and the Relationship Between Texts and Images

2.1 Bibliothèque Nationale de France (BNF), Ms. Arabe 3465 (Rizkallah, 1991)

This edition, originally drafted between 1200 and 1220 (or 1200–1250) with subsequent revisions, remains incomplete. While the official website cites its production date as 1301–1400, evidence suggests later rewrites. Notably, none of the illustrations or pages feature painted borders, and stylistic variations across illustrations hint at the involvement of at least two painters from disparate regions. Some illustrations lack accompanying text, while others include Arabic names alongside the depicted characters, akin to titles in frescoes. This practice of titling figures within illustrations is also observed in BNF Ms. Arabe 3470, underscoring its longevity from the thirteenth to sixteenth centuries and dispelling the notion that it was solely an early miniature tradition.

The illustration depicts “The Story of Three Fishes” (Figure 1) with a structured layout featuring the image above and text below. On the right side, a turban-clad fisherman hauls up a fish in a net with his left hand, while the Arabic word ṣayyādayn, meaning “fisherman,” appears next to him. Adjacent to the nets and plants is the Arabic word shabaka, denoting “fishing net.” Meanwhile, on the left, another turbaned fisherman carries a stick with a container for fish slung over his shoulder. Only one fish is ensnared in the net, with the other two conspicuously absent. The river depicted resembles a small pool, its blue waters rippling. A gap at the top suggests the first fish has already escaped, while the second fish leaps from the shore into deeper water nearby. The fishermen’s unwavering gazes indicate the third fish’s imminent capture. Separating and adorning the scene are two long, light green plants, with a bird perched on the rightmost one. Similar avian motifs on plants are evident in other story illustrations within the book. Notably, two lines of Arabic text appear at the bottom left of the illustration, likely providing further context deserving of exploration.

Figure 1:

BNF Arabe 3465, fol.60r.

2.2 Die Bayerusche StaatsBibliothek (BSB), Germany, Cod. arab. 616

This edition, produced in Egypt or Syria in 1310, features unbordered pages and illustrations. Some illustrations are accompanied by Arabic labels next to people or objects. Among them is the depiction of “The Story of Three Fishes” (Figure 2). Structured as a “picture in the text”, the illustration is symmetrical. Two fishermen, equipped with headlights, stand facing each other, casting nets to capture fish, each successful in their endeavor. The water’s surface forms a crescent shape, its blue hue accentuated by three rows of interconnected wave symbols representing its undulation. Positioned between the fishermen is a simple plant, serving as both separator and decoration. Notably, the fisherman on the right wears a light purple robe adorned with flowers. However, later alterations to his facial features, such as thick, black eyebrows and a mouth lacking aesthetic appeal, deviate from the original depiction, likely due to arbitrary repainting by subsequent generations. Adjacent to the figure is a line of Arabic text, somewhat obscured in the center, potentially offering an explanation deserving further interpretation.

Figure 2:

BSB Cod. arab. 616, fol.54v.

2.3 Parker Library, Corpus Christi College, Cambridge University, MS 578

This edition, painted between 1300 and 1339, features an image of “The Story of Three Fishes” (Figure 3), positioned at the top of the leaf amidst the text, yet the entire leaf lacks framing. The river’s shape in this depiction mirrors that of Figure 2, hinting at a possible origin in Egypt or Syria. Symmetrically arranged, a simple plant with red flowers separates two fishermen equipped with headlights on the left and right, a common layout characteristic of early Arabic illustrations of Kalīla wa-Dimna. In contrast to Figure 2, the fisherman on the right dons a light green robe, a beard, and a white turban, carrying a light red bag over his right shoulder and holding a fish in his right hand. His left hand is raised to grasp a fish pocket with a red pole, poised to deposit the fish within. On the left, another fisherman garbed in a red robe and yellow turban bends down, pulling up a fishing net containing a fish. Both fish are depicted with their heads turned to the left. The absence of the third fish in the picture suggests it is the smart fish that escaped long ago. However, akin to Figure 2, the large pool (or lake) depicted here is enclosed, lacking a passage for the fish’s escape. Consequently, the artist foregoes leaving space for the readers’ imagination, instead “sealing” the two fishes within the confines of a single picture.

Figure 3:

Corpus Christi College, Parker Library, MS 578, fol.43r.

2.4 Bodleian Library, Oxford University, MS. Pococke 400

This edition, originating from Syria in 1354, is part of Edward Pococke (1604–1691)’s collection. Each leaf of the illustrated book features a red border, though some illustrations or text may extend beyond it. Red text above each illustration serves as a title, providing a brief description of the image’s subject matter. “The Story of Three Fishes” (Figure 4), also known as “The Fish and the Fisherman,” depicts a single scene: the moment when two fishermen cast their nets. The illustrated page, framed in red, features the illustration at the center, flanked by five lines of text above and two lines of text below. The red text above the image translates to “He is by the river and the fishermen have thrown out their nets,” serving as a description equivalent to the illustration title. On the left side of the page, text, along with the figures’ hands and feet, extends beyond the border, as does the left end of the lake. The illustration is structured with two tiers: the top depicts two fishermen with halo, while the bottom showcases a ring-shaped closed river with three fishes. Both fishermen wear white “dastars” on their heads, signifying their Islamic religious belief. Between them stands a small tree adorned with blue and red flowers, serving to separate their gaze. They peer downward to the right, their eyes fixed on the river at their feet, barefoot and standing on its edge. The fisherman on the left, fair-faced and clean-shaven, clad in a purple robe, holds a red net line in both hands, pointing towards the fish ensnared in the middle of the pond. Meanwhile, the fisherman on the right, sporting a thick beard and a yellow robe, twists his torso as he prepares to cast his net. The lower pool features painted ripples to denote the water’s flow, with stone-like blocks indicating scattered rocks beneath the surface. The blue water contrasts with the swimming fish, with those on the sides heading left, while the centrally ensnared fish faces right, distinguishing the three. However, the river, from a perspective standpoint, appears disproportionately small, resembling a closed-loop fish tank – a common technique in early Islamic art for depicting rivers, lakes, and seas.

Figure 4:

The Bodleian Library, MS. Pococke 400, fol.53a.

2.5 BNF Ms. Arabe 3470

This edition, painted between 1501 and 1600, features the illustration “The Story of Three Fishes” (Figure 5), structured with text above and picture below. The text is framed by a black double-line border, while the image remains unframed. At first glance, Figure 5 bears a resemblance to Figure 1 from BNF Ms. Arabe 3465. However, upon closer inspection, several differences emerge. For instance, Figure 5 includes an additional plant on the right side. The Arabic inscription in the image is rendered in red and positioned above the figure on the left, with two words inscribed in the top and bottom rows. Moreover, variations exist in the color of the fishermen’s attire, and the fisherman on the right side holds the net with both hands separately. These distinctions highlight the nuanced differences between Figures 5 and 1, indicating a relationship of inheritance between the two illustrations. Indeed, a kinship exists between these two depictions.

Figure 5:

BNF Ms. Arabe 3470, fol.32v.

2.6 BSB, Germany, Cod. arab. 615

This edition, painted in Egypt during the sixteenth or seventeenth century, features the image of “The Story of Three Fishes” (Figure 6). Structured with text above and image below, the leaf lacks a border. The composition of the two fishermen in Figure 6, one actively catching fishes while the other observes, resembles that of Figures 1 and 5, yet four significant differences distinguish it. First, three fishes are depicted in the picture: one ensnared in the fishing net, while the other two are positioned outside the net, one above the other. Second, the figures are attired in varied colors and wear pointed shoes. Third, the plant between the fishermen has been removed, along with the bird atop the plant on the right. Fourth, notable movements are observed in the fisherman on the right, particularly the index finger of the left hand pointing directly to the fisherman on the left side. Additionally, no words are used as symbols in the picture. This exemplifies a scenario where the lines of text were written by two different individuals, suggesting that the red font title may have been penned by the artist rather than transcribed from the text. The phrase in red font reads: sūrat al-maṣādayn wa-i-salās samakān, where “sūrat” signifies “picture”; “maṣādayn” denotes “fisherman”; “salās” translates to “three”; and “samakān” signifies “fish”. Collectively, this phrase conveys “the picture of the fishermen and the three fishes.” Notably, the word “fish” is the plural form of the Persian term, potentially indicating traces of Persian influence in the text.

Figure 6:

BSB Cod. arab. 615, fol.49v.

2.7 BNF Ms. Arabe 3472

This edition, crafted for Sayyidī Aḥmad in 1669, presents an intriguing aspect: while the first two-thirds of the illustrations boast a double red line border around each leaf, the final third lacks such a border. Additionally, many illustrations feature Arabic phrases alongside or outside the borders. The overall style of the illustrations leans toward the archaic, characterized by clean lines for the characters and smudged clothing or backgrounds, lending the book a comic book-esque vibe. Remarkably, three illustrations, including the depiction of “The Story of Three Fishes” (Figure 7), are inverted. Upon rotation to a positive image (Figure 8), it becomes evident that two fishermen symmetrically draw nets on the left and right sides, capturing two sizable fishes, one red and the other yellow. Apart from a depicted plant, the image lacks a significant landscape background, and the depiction of water is notably abstract. A line of text at the top of the page reads:

hāddih thalāth samakāt

This three fishes

Figure 7:

BNF Arabe 3472, fol.44v.

Figure 8:

Upside-down version of detail in Figure 7.

Outside the right-hand border of the image, there are three additional lines of text that read, “As strange a thing happened to these three fishes and the two fishermen together, [they] met here [in this place].” Clearly, the former serves as the title of the illustration, while the latter provides a brief explanation.

2.8 BNF Ms. Arabe 5881

This edition, finalized in 1681, includes an illustration of “The Story of Three Fishes” (Figure 9). Integrated with the text, the illustration is captioned with a line of red letters above and below. A notable distinction of this depiction is the presence of four fishes, with three swimming in the water alongside the one caught by the fisherman on the right. Employing a left-right symmetry spatial layout technique, the two fishermen are positioned on the left and right, with a plant illustration behind them.

Figure 9:

BNF Ms. Arabe 5881, fol.27v.

2.9 BNF Ms. Arabe 3475

This edition, dated 1762, features 180 illustrations, including the depiction of “The Story of Three Fishes” (Figure 10), without any border. The illustrations, interspersed with text, exhibit a symmetrical composition. What’s notable is the illustration’s vivid, almost “magical” color palette. However, it diverges significantly from the narrative. Two figures, seemingly fishermen with pointed hats, dressed in red attire and black trousers, each hold a fishing net. Notably absent are key story elements such as fish and water, as well as any contextual backgrounds like mountains or trees. Visually disconnected from the story, this illustration stands as a separate entity, lacking any evident ties to the accompanying text.

Figure 10:

BNF Ms. Arabe 3475, fol.60r.

2.10 The Metropolitan Museum of Art, New York, US, MS 1981. 373

Coming from “The Alice and Nasli Heeramaneck Collection (Gift of Alice Heeramaneck)”, this edition is believed to have been created in Syria or Egypt during the 18th century, featuring a mix of illustrated pages linked to the text and standalone illustrations occupying single leaves. Among them is an image portraying “The Story of Three Fishes” (Figure 11). The composition of this illustration closely resembles that of Figure 4, indicating a visual connection through a similar layout. This suggests an iconographic inheritance between Figures 11 and 4, highlighting their striking visual resemblance and shared composition.

Figure 11:

Met museum 1981.373, fol.36.

2.11 Bodleian Library, Oxford University, MS. Fraser 100

This edition, presumed to have been completed around the late fifteenth century, lacks specific dates, copyist, or illustrator names. It contains fifty-six illustrations, many of which exhibit signs of detachment and damage (Robinson, 1958, pp. 71–74). Illustrated pages are bordered, contrasting with borderless text pages. The paintings predominantly feature light backgrounds with minimal depictions of mountains or trees, focusing instead on delicate flowers and plants. Among the illustrations is “The Story of Three Fishes” (Figure 12), positioned centrally on the page with four to five lines of text above and below it. The image portrays two fishermen, both leaning to the left, engaged in fishing activities in a stream. The fisherman on the right, clad in lavender attire, holds a fish in his right hand, while the fisherman on the left, dressed in light red, pulls tightly on a fishing net containing a fish.

Figure 12:

Bodleian Library, MS. Fraser 100, fol.53a.

2.12 Bodleian Library, Oxford University, MS.E.D.Clarke Or.9

This edition, comprising 125 folios inscribed on both sides, features a distinctive red border, with illustrations frequently extending beyond its confines. Among its contents is an image depicting “The Story of Three Fishes” (Figure 13). This illustration bears resemblance to Figures 1, 5, and 6, sharing essentially identical compositional elements.

Figure 13:

MS.E.D. Clarke Or.9, fol.50v.

Naṣr Allāh Munshī’s Persian translation of Kalīla wa-Dimna is also available in several illustrated editions, for example, in the Bibliothèque Nationale de France, including BNF Supplément Persian 1965. There are three illustrated copies of Kalīla wa-Dimna in Persian that have been found with the image of “The Story of Three Fishes”. The chronological order of the writing of the books is as follows:

2.13 BNF Ms. Supplément Persian 913

This edition was completed on August 10, 1392, with 180 illustrations, including the image of “The Story of Three Fishes” (Figure 14), which shows two fishermen standing opposite each other in a flowing stream, pulling a fishing net with both hands. In this picture, two fishermen are standing opposite each other in a flowing stream, pulling a fishing net with both hands. In the net, there are two fishes. It is worth noting that compared to the above image in the Arabic illustration of Kalīla wa-Dimna, the Persian illustration is obviously more colorful in terms of landscape, with the blue sky, grass, and trees behind the mountains providing more background elements for the story.

Figure 14:

BNF Supplément Persian 913, fol.54r.

2.14 Istanbul University Library, Turkey, Yildiz F.1422

A miniature illustration from the second half of the fourteenth century Persian edition, originally painted during 1370–1374, unfortunately, underwent dissection by Shah Quli Kalifa (or Khalifa?) between 1553 and 1558. These fragments were then affixed into an album commissioned by Safavid Shah Tahmasp, resulting in the preservation of forty-nine illustrations. Among these remnants is an illustration known as “The Ruse of the Second Fish,” derived from “The Story of Three Fishes” (Figure 15). Depicting two fishermen stationed in a stream, the fisherman on the left has ensnared a fish with his right hand, while his counterpart on the right is engaged in pulling the net rope with both hands, securing yet another catch. Notably, the painting style employed for the rocks and trees exhibits traces of Chinese influence evident in the work of Persian painters.

Figure 15:

Istanbul University Library, Yildiz F.1422, fol.22a.

2.15 The Raza Library, Rampur, India, Ms.IV.2

This version of illustrations was crafted in Herat, Central Asia, between 1500 and 1510. An illustration of the story (Figure 15) is included (Schmitz & Desai, 2006, p. 265). A close comparison reveals near-identicality between this illustration and Figure 15, suggesting that Yildiz F. 1422 may be the original source of Ms. IV.2, or at least Figure 16 could be a reproduction of Figure 15. This implies a potential exchange of imagery among various illustrated editions of the same work across different epochs.

Figure 16:

The Raza Library, Ms. IV.2, p. 61.

Regarding the illustrations in these three Persian editions of Kalīla wa-Dimna, they exhibit a certain uniformity in artistic style and boast a richer pictorial narrative compared to their Arabic counterparts. Another noteworthy observation is that the Persian renditions typically depict two fishes, omitting the depiction of the fish that is fully wise.

At present, the author has collected a total of 13 illustrated books of Anwár-i-Suhailí in Persian, and among them, there are 4 illustrations of “The Story of Three Fishes”, which are described as follows according to the dates when the books were written:

2.16 BNF Ms. Supple Persian 921

This edition, created in 1547, features illustrations that diverge from the conventional format. While most illustrations are situated outside the text borders, some are contained within the pages’ borders. This suggests that the illustrations were first copied from the text and then added to the pages. Among these illustrations is “The Story of Three Fishes” (Figure 17), positioned outside the upper left border and confined by space, rendering it a genuine “miniature painting.” Due to its relatively small size, detailed observation requires zooming in (Figure 18). Two fishermen stand at the river bend; the fisherman in the yellow shirt on the right pulls a fishing net with both hands, capturing a fish. The other fisherman seems to be a bystander, not engaged in fishing. A larger hummingbird positioned between them flutters its wings, injecting vitality and motion into the scene. Evidently, the illustration serves more as a decorative embellishment than as a narrative depiction of the story.

Figure 17:

BNF Supple Persian 921, fol.60r.

Figure 18:

Detail of Figure 17.

2.17 Aga Khan Trust for Culture Museum, AKM 289

In this edition, painted in 1593, we find an illustration of “The Story of Three Fishes” (Figure 19). Reflecting a typical Persian artistic style, the illustration also bears the influence of Chinese painting art, particularly evident in the depiction of the landscape. Three fishermen and three fishes are portrayed. Beside a small river, a fish swims in a waterway. The fisherman on the right, clad in a light yellow suit, holds a fish in his right hand, poised to place it on the bank. Meanwhile, the two fishermen in the center and on the left are seen gathering a fish in the net. This illustration offers a comprehensive interpretation of the varying situations of the three fish as described in the text.

Figure 19:

Aga Khan Trust for Culture Museum, AKM 289.

2.18 Walters Art Museum, Baltimore, Maryland, US, W599

This version, drawn by Mirza Rahim in Iran in 26 Jumada I 1264 AH (1847 CE), is written in black and red ink, employing “Nasta ‘liq” script with the influence of “shikastah” (breakaway script). Featuring 123 illustrations, including one of “The Story of Three Fishes” (Figure 20), this edition presents the illustration centered on a page bordered on all sides and surrounded by text. Within the depiction, two fishermen are seen fishing on a lake, accompanied by three large fishes. The illustration may aptly be titled “Two Fishermen and Three Fishes”.

Figure 20:

Walters Art Museum, W599, fol.39b.

2.19 13AS6112

There is an edition with unknown provenance (13AS6112), which also contains an illustration of “The Story of Three Fishes” (Figure 21). At present, any information about the collection, dates or location of the illustration could not be offered. There is only a black-and-white version of the illustration, while the original illustration is presumed to be a color one. Despite the lack of information, the scene depicting two fishermen catching fish can still provide a lot of visual information. It is likely to date from no earlier than the sixteenth century.

Figure 21:

13AS6112.

In addition to the four Persian Anwár-i-Suhailí illustrations mentioned above, there is another Persian Touchstone of Wisdom illustration that also has “The Story of Three Fishes” illustration.

2.20 Bharat Kala Bhavan, Varanasi, India, Ms.9069

This edition, crafted in Lahore during the Mughal period in India on paper, utilizes opaque watercolor, gold and silver dust, and ink. Within the book lies an illustration titled “The fish outwits the fishermen,” depicting the story (Figure 22). Characterized by a typical Mughal miniature style, the illustration is intricate and opulent compared to its counterparts discussed earlier (Natif, 2018, p. 176). At the stream’s bottom, a bare-chested fisherman is seen casting a net to catch fish, with one already ensnared. Meanwhile, a sizable fish leaps outside the net, representing the unpredictable fish.

Figure 22:

Bharat Kala Bhavan, Ms.9069, fol.61.

2.21 St.Petersburg Branch of the Institute of Oriental Studies, Ms. P 2 (Vorobyava-Desyatovskaya, 2000, pp. 58–64)

M. I. Vorobyava-Desyatovskaya notes that Kalīla wa-Dimna was initially translated into Georgian in the eleventh and twelfth centuries, but the translation did not gain much traction. The second translation was completed by King Kathetia David at the end of the sixteenth century, while the third was by King Vakhtang VI of Georgia in 1712–1724, based on the Persian Anwár-i-Suhailí. Additionally, poet Saba Sulhan Orbeliani (1659–1725) produced another Georgian translation in 1717–1724. The illustrated Georgian Kalīla wa-Dimna (Manuscript P.2) now housed in St. Petersburg features illustrations likely drawn around the mid-eighteenth century or later (Vorobyava-Desyatovskaya, 2000, pp. 58–64). The illustrated book presents a continuous narrative, with each illustrated page divided into compartments depicting single scenes, interconnected to form a cohesive story. “The Story of Three Fishes” (Figure 23) occupies one such page, with three frames portraying a sequence of events. In the left frame, two fishes swim in a mountain river while a third heads downstream. Three fishermen stand on the riverbank with nets. The central panel depicts a fisherman catching a fish, while two others prepare to do the same. In the right frame, a fisherman successfully nets one fish while the other two escape. This visual narrative effectively conveys the states of the three fishes – swimming freely, caught by chance, and fated to be captured. By capturing these nuances, the artist adeptly communicates the story’s deeper meaning, a contrast to single-panel narratives where such distinctions may be lost.

Figure 23:

“Three fish in one pond and the fishermen”, St.Petersburg Branch of the Institute of Oriental Studies, Ms. P 2, fol.71a.

Kalīla wa-Dimna has been translated into various European languages, with some translations accompanied by illustrated prints. Among these, the plates depicting “The Story of Three Fishes” vary significantly in content and style. The author has identified thirteen such prints, each offering a unique interpretation of the story. While some prints feature color illustrations, others are presented in black and white. Here is a summary of the illustrations based on their publication dates:

2.22 Universitatsbibliothek, Heidelberg, Germany, Manuscrit Cod Pal Germ 48

In the illustrated German translation Buch der Beispiele der alten Weisen, housed in a library containing rare texts from the Middle Ages, including Anton von Pforr’s 1483 translation of the Book of the Ancient Wise, the source material can be traced back to Jean de Capoue’s Latin translation Directorium Humanae Vitae (1263), Rabbi Joel’s Hebrew translation Kalīla wa-Dimna (circa 1263), and Ibn Mughfa’s Kalīla wa-Dimna (circa 1250). This book, crafted between approximately 1475 and 1482 in Schwaben, features an illustration titled “The Story of Three Fishes” (Figure 24). In this depiction, two fishermen stand on the banks of a stream near a town, pulling a large net to catch fish. Three fishes are visible in the stream: the first has swum upstream and is out of danger, the second lies belly up below the stream, feigning death and indicating disinterest to the fishermen, while the third struggles in the net, facing imminent demise with no means of escape. The illustration lacks a border and is structured with text above and an image below, featuring ten lines of text above the map, with two red words at the end of the tenth line, their significance yet to be determined.

Figure 24:

Universitatsbibliothek (Heidelberg) Manuscrit cpg84, fo1.42r.

2.23 Universitatsbibliothek, Heidelberg, Germany, Manuscrit Cod Pal Germ 466

The German translation of the Book of the Ancient Wise, crafted circa 1471–1477 in the Obserschwaben region of Germany, was rendered on paper using colored pens and ink. Within this book lies the illustration titled “The Story of Three Fishes” (Figure 25). The illustration features a “picture above and text below” composition, framed with a red line above, presumably serving as the title. Notably, the castle is absent from the scene. Instead, two fishermen are depicted in a small boat, pulling a large net to catch fish. In the stream, three fishes are visible: the first has swum further upstream and is beyond danger; the second lies on the grass, poised to exploit an opportunity to escape by jumping into the lower part of the stream; and the third fish struggles in the net, trapped with no means of escape.

Figure 25:

Manuscrit cpg466, fo1.53r.

2.24 Universitatsbibliothek, Heidelberg, Germany, Manuscrit Cod Pal Germ 85

This German translation of the Book of the Ancient Wise, which was also illustrated between 1480 and 1490 in the Swabian region of Germany, features an illustration of “The Story of Three Fishes” (Figure 26). This illustration bears a striking resemblance to Figure 24, with similar compositional elements and movements of the figures. However, there are subtle differences: the background color of the picture is slightly greenish, and the rocky part of the mountain is not depicted. Additionally, the second fish is positioned below the stream, but unlike in Figure 24, it is not depicted with its belly facing upward; rather, it is shown in its normal posture with its back facing upward. This suggests that the artist referenced a similar pastel copy, such as Figure 24, but may have misunderstood the precise meaning of the story’s text, resulting in errors in the details.

Figure 26:

Universitatsbibliothek (Heidelberg) Manuscrit cpg85, fo1.39v.

2.25 National Library of Romania, Inc. II. 72

Giovanni da Capua’s illustrated Latin translation Directorium Humanae Vitae (Guide for Human Life) was published by Johann Prüss in Strasbourg around 1489. The book also contains an illustrated plate of “The Story of Three Fishes” (Figure 27). The plate shows two fishermen, one standing in a boat at the water’s edge, holding a large fish above his head in his left hand, ready to cast it onto the grass on the shore. The other fisherman is leaning against the side of the boat and is about to put up a fishing net in the water, which also has a fish in it.

Figure 27:

National Library of Romania, Inc. II. 72, fol.22.

2.26 BSB, Germany, Rar 1741

Another Latin translation of Guide for Human Life is also an illustrated print. The illustration of “The Story of Three Fishes” (Figure 28) is the same as Figure 27, but the layout of the page is different from the one in Figure 27. However, they can be regarded as the same edition.

Figure 28:

BSB Rar 1741, fol.70.

2.27 BSB, Germany, Ink I-378-GW M13178

Another edition, Book of the Ancient Wise, was printed on March 17, 1484, in Augsburg, Germany. The book also contains an illustration of “The Story of Three Fishes” (Figure 29). The illustration is the same as Figures 27 and 28, but it is printed in multiple color (mainly red). In addition, the overall layout is slightly different from the previous two, with the illustration placed at the top of the page rather than at the bottom. However, as far as the illustration itself is concerned, it is clear that the book is a direct use of a plate similar to the first two, printed in multiple color and appearing slightly more realistic. The illustration’s transition from monochrome to multiple color also epitomizes the development of printing technology in Europe.

Figure 29:

BSB-Ink I-378-GW M13178, fol.38.

2.28 BSB, Germnay, Ink I-380 – GW M13187

The Johannes de Capua’s Latin translation Directorium Humanae Vitae (Das buoch der weißheit oder der alten weisen) was published on March 12, 1485, in Ulm, Germany. The book also contains an illustration of the story (Figure 30).

Figure 30:

BSB-Ink I-380 – GW M13187, fol.38r.

2.29 BSB, Germnay, Rar 2143

Another Latin translation of the illustrated Guide for Human Life was printed in 1501, which also contains a corresponding image of the story (Figure 31). In addition, there are four other Guide for Human Life in the collection, BSB Rar 2144, 2145, 2146, and 2147, which are the same edition as BSB Rar 2143, and all of them are from the Swabian region of Germany, with the printing years of 1529, 1536, 1539, and 1545, respectively. From the preliminary judgment of the images, the four pictures in Figures 24, 26, 30, and 31 can be regarded as “two fishermen fishing with nets by the river”, but there are still a lot of differences between the pictures in terms of details. For example, in the illustration of Figure 31, not only is the layout of the landscape different, but the second fish swimming in the lower left has been “moved” to the lower right of the picture.

Figure 31:

BSB Rar 2144, fol.28r.