The Illustrations for a Victorian Aesop and a Meiji Isoppu

The Illustrations for a Victorian Aesop and a Meiji Isoppu

著者 Scott Johnson

journal or

publication title

関西大学東西学術研究所紀要

volume 16

page range A51‑A99

year 1983‑01‑20

URL http://hdl.handle.net/10112/16046

The Illustrations for a Victorian Aesop and

a Meiji Isoppu.

Scott Johnson

Japan's long fascination with Aesop's Fables has been outlined in Prof. KOBORI Keiichiro's 1978 book Isoppu Guwa (Aesop's Fables). Japanese translations of the fables go back to the 16th C., and most published editions of the fables were illustrated. This essay deals with the illustra- tions to one of the most appealing Japanese editions, the WATABE Godo translation published in Meiji 5 and 6 (1872-3) as Tsuzoku Isoppu Monogatari, (A Popular Version of Aesop's Fables).

The Watabe (the name can also be read Watanabe) Isoppu contains illustrations by KAWANABE Kyosai, FUJISAWA Bainan and a third artist, who signed his illustrations Koson (IPH~), and may have been the little-known OSHIMA Koson. The problem of Koson's identity will be taken up later.

There is considerable esthetic impact from many of the woodblock illustrations to the Watabe Isoppu, but their most striking feature is their obvious Western influence, suggesting a specific model upon which the Japanese illustrators drew.

Prof. Kobori is correct in identifying this Western publication as the Thomas James transla- tion, published in several editions from 1848. The original illustrations for the 1848 James Aesop were the work of John Tenniel, best known for his later illustrations to Alice in Wonderland and other Lewis Carroll books.

Prof. Kobori relied upon an American edition of the James Aesop, and noted that whereas some of the Tenniel illustrations clearly were the models used by Kyosai, Bainan and Koson, others were completely different. Resolution of this seeming difficulty is not found in a different Western Ae- sop, but in another edition of the James Aesop, probably the 1858 London edition, which included revised illustrations by Tenniel, as well as new ones by Joseph Wolf, a German-born illustrator whose long career in London centered on scientific illustrations, especially of birds and animals.

The James Aesop was first published by John Murray in 1848 with illustrations by Tenniel only. Comparison of a copy of the 1848 edition with the Watabe Isoppu shows that only some of the Tenniel illustrations could have been the sources for the Japanese illustrations. The records of the John Murray publishing house in London show that the illustrations for the James Aesop were considerably revised for the 1858 edition.

Regrettably, John Murray does not retain a file copy of this 1858 edition and I have not been

Fig. 1-a. A typical two-page layout in its entirety. The Watabe Isoppu was printed in traditional Japanese woodblock style, which means that succeeding "pages" in the Western sense are printed from the same block, the paper then being folded and the loose ends bound up.

The title of the book is printed in the center of the woodblock; accordingly, when the sheet is folded, half the title shows on each side. The page number (30 here) is shown in the lower left margin, but this actually refers to the entire sheet; in other words, half of sheet 30 is not shown here. The right-hand portion of the design is the rear of page 29. By conven- tion pages are labelled A for the front and B for the back of the sheet. Fig. 1-a, then are pages 29B/30A from Vol. I. The white space above and below the design is typical of tradi- tional Japanese book illustrations, the proportionately larger area above following the conven- tions of scroll mounting.

able to locate a copy for study. My own copy of the James Aesop is a late one, published in 1898.

The 1898 illustrations however, appear to have been the models for the pictures in the 1872-3 Wa- tabe Isoppu.

Since this 1s chronologically impossible, it seems likely that the revized illustrations for the 1858 edition were not changed in subsequent editions of the James Aesop. It still remains a bit

The Illustrations for a Victorian Aesop and a Meiji Isoppu

Fig. 1-b. Fable 56: "The Lion in Love." A typical page from the James Aesop, the illustration probably identical to that in the 1858 edi- tion, the proposed model for the Watabe Isoppu illustrations.

Although there is a good deal of variety in the format of the book, there are no two-page illustrations in the James Aesop.

unclear just which edition was used by Kyosai et al in preparing the Watabe Isoppu.

53

Before going any further, it seems best to compare photographs of illustrations to one of the fables, called by James "The Lion in Love." [Figs. 1-a and 1-b].

To begin with, the format of the two books is quite different. The James Aesop is small; 203 fables are presented in one octavo volume whose internal page size is 18.5 X 12 cm. The 106 de- signs are in various formats; the illustration here is only 6 X 9 cm. The engraving is unsigned, pre-

Fig. 2-a. Vol II, 19B/20A.

sumably an indication that it is by the principal illustrator, Tennie!.

The Watabe Isoppu is entirely printed by woodblocks, text as well as illustrations, in the tra- ditional, stitch-bound Japanese manner. The book contains a total of 237 fables in six volumes.

Book size is 22.5 ^X 15 cm.; all but one of the/35 illustrations cover two pages within a printed frame.

The "Lion in Love" illustration is 17 x 25 cm.; it is signed Shojo Kyosai, one of Kyosai's favor- ite signatures, suggesting a love of sake, and sealed Mugaku, "no education."

Tenniel's illustration is dominated by the lion, but gives prominence to the shrewd woodcutter who outwits the king of beasts. A background of closely spaced horizontal lines creates the effect of a neutral gray, accentuating the dark mane of the lion.

Kyosai's illustration gives prominence to the woodcutter's daughter, the catalyst of the story.

The lion is in the center of the illustration, giving him a strong place in the composition. The wood- cutter, however, is in a crouched position with only the upper half of his body visible. Although this may seem to weaken his importance too much, here the woodcut medium supplies strength of another sort. The block-carver, following the vigorous, brushed line of Kyosai's painted design, gives a sinuous sense of movement to the woodsman's shirt. The muscular forearms and the intent face of the woodsman extend this sense of animation and in turn draw the spectator's eye to the last

The Illustrations for a Victorian Aesop and a Meiji Isoppu 55

Fig. 2-b. Fable 102: "The Cat and the Mice."

remaining claw as it is about to be clipped off. This in turn prompts a look at the forelegs and the suggestion of mere stubs instead of claws.

Kyosai's illustration, then, partly because of the woodcut medium and partly because of the composition and line of Kyosai's brush, is dramatic, capturing an important moment in the story.

Tenniel, trying for a different effect, has created a more static composition, the balance and shading suggesting the effect of a tableau, or even a bas-relief.

The question here is not to point up one or the other artist as superior, but to indicate most emphatically that we are not dealing with a slavish imitation of Western art.

An even more striking example can be seen by comparing the unsigned (presumably Tenniel)

Fig. 3-a. Vol. I, iiB/iiiA, signed "BYNAN", lower left.

engraving for "The Cat and the Mice" with Kyosai's adaptation [Figs. 2-a and 2-b]. The mental image of a cat in a sack hanging down by his hind feet is the most striking feature of the fable.

Tenniel's illustration is very small, the vertical post balancing the hanging cat symmetrically. The mice are tiny, almost lost in the upper portion of the illustration. It is a straightforward illustra- tion of the fable, but certainly not one of Tenniel's more inspired offerings.

By contrast, K yosai presents a commanding horizontal composition. Again the vertical post balances the hanging cat, but this time across two pages. The fat cat with its extravagant ears and whiskers, and the black shading on the pillar give variety, and the diagonal shelf and floor line con- vey a feeling of asymmetry and a sense of movement. The glasses, jug and pot on the shelf are new elements; the glasses especially have a 'Western' look, without being specific as to time or country. The lower right hand is dominated by a typical Japanese basket containing what is pro- bably a kabu, a kind of turnip. The placement of the mice, not to mention the skill with which they are drawn, gives them ample focus; their long tails are echoed by the rootlets of the kabu.

The glasses and the basket are quite extraneous to the story of the fable, but add visual richness to Kyosai's design. By uniting Western and Japanese household goods in the same composition, a sense of universality is unobtrusively suggested.

The Illustrations for a Victorian Aesop and a Meiji Isoppu ⁵⁷

Fig. 3-b. The Frontispiece, initialed JT, lower right.

But Kyosai was not the only illustrator of the Watabe lsoppu. Nine of the 35 illustrations were by FUJISAWA Bainan, who also wrote the preface to the Watabe Jsoppu. Bainan's considerable historical importance will be outlined later in the biographical notes on all the artists in both the James Aesop and the Watabe lsoppu. As an artist, he is known to have greatly admired the Nanga artist TSUBAKI Chinzan, and suffice it to say that this love for Chinzan is totally suppressed in his Jsoppu illustrations.

Bainan (~m) seems a perfectly typical Japanese art name, and it is with these ideograms that he signed the preface to the W atabe lsoppu. But eight of the nine illustrations by the artist are signed with a romanised homonym, "BYNAN", which appears to be an unusual but perfectly plau-

Fig. 4-a. Vol III, 12B/13A. Signed "BYNAN."

sible English family name. The ninth illustration is unsigned, but on stylistic grounds, it too can be surmised to be Bainan's.

A comparison of the two frontispieces is revealing [Figs. 3-a and 3-b]. The Aesop illustration is initialed J.T., confirming it to be by John Tennie!. Bainan fitted this vertical design into the horizontal format of the Watabe Isoppu by simply lopping off the top of the illustration. There are no bold, brushlike effects in Bainan's illustration. In fact, all the lines are thin, almost unifom1.

Shading effects are achieved by cross-hatching and stippling. In short, techniques typical of en- graving are attempted in the woodblock medium, with results which are striking only if the Tenniel model has not been seen. But once the Tenniel illustration has been seen, the term "imitation"

seems not altogether inappropriate, and the label is equally applicable to other Bainan illustrations, with one exception.

The exception is the illustration to what James called "The Old Woman and Her Maids." [Figs.

4-a and 4-b]. The unsigned (Tenniel?) illustration in the James Aesop creates the effect of late night by the extensive cross-hatching of the dark areas, contrasting with the candle-lit white sheet and skin of the two maids.

No attempt is made by Bainan to use cross-hatching here. The background over the maids'

The Illustrations for a Victorian Aesop and a Meiji Isoppu 59

Fig. 4-b. Fable 140: "The Old Woman and Her Maids."

heads and the black vertical shading to the right look curiously like charcoal or crayon, but the over- all effect is very much like the dramatic, wilful crudities of the Expressionists of some half a century later.

That effect is possible only on modern eyes looking back at this early Meiji book, but it cer- tainly seems safe to say that this illustration must have astonished early readers of the Watabe lsoppu, even if they accepted it as "Western." Bainan's approach is drastic, creating stylistic rupture within the Watabe lsoppu, and this must have been calculated to challenge its readers.

Only three of the 35 illustrations in the Watabe lsoppu are signed Koson (!!ll!~). Prof. Kobori identifies the artist as SAKAKI Koson, although his notes give no direct indication of the source

Fig. 5-a. Vol I, 3B/4A. Signed Koson.

for his identification. The Watabe Isoppu is somewhat unusual for books of the period in lacking a colophon page listing the illustrators, nor is there any hint given on the title pages. A check of the records of the First National Painting Exhibition in Meiji 15 (1882) reveals an OSHIMA Koson using the same ideograms, but it is unclear whether he is the Isoppu illustrator.

Regardless of who Koson was, he was a proficient artist, given the honor of the first three il- lustrations in the text. A comparison of Joseph Wolf's illustrations for "The Vain Jackdaw" with Koson's adaptation [Figs. 5-a and 5-b], shows his skill at simplifying the background and adding visual interest with a flock of birds on the right, presumably "Jackdaws." Here and in his other two illustrations, Koson displays an appealing ability to adapt his models to the woodblock medium, sharing Kyosai's brushed effects if not his brilliant imagination.

Although· Koson is given the text's first three illustrations, and Bainan all seven illustrations to volume three, the frontispiece and the Aesop portrait, the book is dominated by Kyosai. This is not simply a matter of numbers, although 23 of 35 illustrations does give Kyosai virtually two- thirds of the book. It is rather that the best of Kyosai's illustrations are extraordir:.arily evocative;

they linger in the mind.

Kyosai has long been admired for his skill as a painter, perhaps even more in the West than in

The Illustrations for a Victorian Aesop and a Meiji Isoppu 61

Fig. 5-b. Fable 6: "The Vain Jackdaw."

Japan. But he was also enormously prolific and gifted in creating designs for woodblock prints, and at least 50 books contain his woodblock illustrations. He was at the height of his powers when the Watabe Isoppu was published.

It should also be pointed out that five of Kyosai's illustrations have no counterpart in the Ten- niel-Wolf illustrations. These include the fables James called "The Bees, the Drones and the Wasp," "The Old Woman and Her Physician," and "The Birdcatcher and the Lark." The re- maining two illustrations have no counterpart among the fables covered in the James Aesop. James included 203 fables; Handford, in the more recent Penguin Fables of Aesop includes 206 fables, but indicates in his introduction that early manuscripts contained many more fables not generally accepted by modern critics. Neither James nor Handford include a story about travelers and a monkey king, one of the fables Kyosai illustrated. Nor do they include a fable of a father, his son and daughter, the final story illustrated by Kyosai. The Watabe Isoppu contains 238 fables, many of which must have been apocryphal.

Finally, it seems appropriate to mention that surviving examples of both the Watabe Isoppu and the James Aesop are rather scarce. The 1891 edition of the James Aesop advertised that 11,000 copies were in circulation, but the attrition rate for illustrated children's books is high; my own

copy of the 1898 edition has one illustration colored with crayons.

Records for printing runs on older Japanese books are almost non-existent, but at least two states of the Watabe Isoppu have been seen: a presumably early printing with judicious use of soft color blocks*; other copies seen retain only occasional gray blocks in addition to the black key blocks. Since the Japanese woodblock-printed book was entirely hand made, even two states does not necessarily indicate a large output. Practical experience with books of the period suggests se- verely limited editions, probably in the hundreds rather than the thousands.

*

C.H. Mitchell, cited below, informs me that he doubts the existence of the "second state" which I have proposed. Numerous examples of color variations, presence or absence of shading blocks and so on in other Edo and Meiji period books attest to the free hand of the publisher or printer in such matters. My comment rests on a stray copy of volume two only; plate 14--a in Appendix Two shows the illustration in question. The pink musculature is clearly printed from a separate woodblock, and lack of block wear confirms it as an early printing. Of seven sets of the Watabe

Isoppu seen by me, none contains comparable coloring. The balance of evidence seems against a second state, but until further examples are studied, I prefer to leave the matter open.

Sources.

Special thanks must be paid to five people who have helped in the research for this essay.

C.H. Mitchell, an American who has lived in Tokyo for over 35 years, first showed me his set of the Watabe Isoppu and encouraged me to find my own set. Mr. Mitchell is recognized as one of the most experienced and scholaily Western collectors of Japanese illustrated books. He has generously shared his detailed notes and ideas on this and many other Japanese books over the last few years, for which I am deeply grateful and indebted. Jack Hillier has long been acknowl- edged as the foremost British authority on Japanese illustrated books. His extensive collection is now housed in the British Museum, and the cat&log of that collection, noted below, records the Watabe Isoppu as item 145. Independent of Prof. Kobmi, it was Mr. Hillier's wife, Mary, who recognized Tenniel as the likely model for the Isoppu illustrators and duly tracked down sev- eral editions of the James Aesop. Both Jack and Mary Hillier have shared their ideas through correspondence and in conversation, and their unflagging enthusiasm and warm support are great- ly appreciated. Prof. YAMAGUCHI Seiichi of Saitama University has shown me his father's extensive collection of books illustrated by Kyosai and his contemporaries; more importantly, he has guided me through numerous sources on Meiji art and history and corrected my too fre- quent mistakes with good humor and patience. Dr. KAWANABE Kusurni, Kyosai's great- granddaughter, has freely shared her family knowledge and research into that mercurial artist's life and work. Her Kyosai Society, and its periodical, Kyosai, have benefitted everyone interested in Kyosai and the art of his time. Whatever virtues this essay has are in large measure due to the help of these five friends.

The Illustrations for a Victorian Aesop and a Meiji lsoppu

References

Handford, S.A., trans. Fables of Aesop. Penguin Books: Middlesex, 1981.

Hillier, Jack and Lawrence Smith. Japanese Prints: 300 Years of Albums and Books. British Museum Publications: London, 1980.

Hillier, Jack and Mary. Unpublished notes and correspondence.

Isao, Toshihide. "Irasutoreetaa Toshite no Kyosai," (Kyosai as an Illustrator), KyiJsai, No. 3. Warabi:

Feb., 1980, pp. 16-17.

James, Thomas, trans. Aesop's Fables. John Murray: London, 1848 and subsequent editions.

KOBORI Keiichiro. Isoppu Guwa (Aesop's Fables). Chukoshinsho: Tokyo, 1978.

Mitchell, C.H. Unpublished bibliographical notes and correspondence.

Tohi Jimmeiroku (Town and Country Directory). Tokyo, 1881.

WATABE Godo, trans. Tsuzoku Isoppu Monogatari (A Popular Version of Aesop's Fables) 6 vols.

Tokyo, 1872-3.

YAMAGUCHI Seiichi. Unpublished notes and correspondence.

YAMAGUCHI Takemi. Meiji Zenki Gisakubon Shomoku (Catalog of Early Meiji Satirical Works).

Seishodo: Tokyo, 1980.

Appendix I: Bibliographical and Biographical Notes.

Tsuzoku Isoppu Monogatari (A Popular Version of Aesop's Fables).

63

Translated by WATABE Goda. Preface by FUJISAWA ~ainan. No publisher given, but presumably published by the translator, since a note specifies that the blocks were owned by him.

Published in Tokyo in six volumes, three in Meiji 5 (1872) and three in Meiji 6 (1873).

Soft paper covers, yellow, embossed network design. Title slip pasted on upper left comer of each volume, giving full title and volume number in black ink on white paper.

Vol. 1 title page printed on red paper, dated Meiji 5; vol. 3 title page printed on blue paper, dated Meiji 6.

The illustrators.

KAWANABE Kyasai (1831-1889) was one of the giants of later 19th C. Japanese art. Ec- lectic both by training and inclination, he was especially admired by Westerners for his ability to master and assimilate a bewildering range of styles. His illustrations for the Watabe Isoppu demon- strate this ability amply.

FUJISAWA Bainan (1835-1881) was a minor artist, but extremely important politically in the turbulent years from the end of the Shogunate into the early Meiji period. Born into the Katsuragawa Samurai family, famous for medical research, he was adopted into the Fujisawa fami- ly. As FUJI SA WA Jiken he rose to power, becoming second-in-command (fukusosai) of the Bakufu army at the end of the Shogunate. He was later active in the Genroin, the interim gov- ernment following the collapse of Tokugawa rule, and still later in the Meiji government itself.

His ideal in art was TSUBAKI Chinzan, although he was not a direct student of Chinzan.

In Meiji 12 (1879) he became a founding member of the Ryuchikai, the first society devoted to preserving and encouraging Japanese art, countering the excesses of the then current vogue for Western art. His name is listed in the 1881 Tohi Jimmeiroku (Town and Country Directory) as an

artist. His contributions to the Watabe lsoppu include the preface (signed and sealed Bainan) and his determinedly "Western" illustrations (signed "BYNAN").

Koson's identity remains a bit uncertain. The catalog for the First National Painting Exhibi- tion (Naikoku kaiga kyoshinkai) of 1882 lists two paintings by an OSHIMA Koson using the same ideograms. Prof. Kobori identifies him, without attribution, as SAKAKI Koson.

Aesop's Fables: A New Version, Chiefly from the Original Sources.

Translated and introduced by Thomas James. One volume. Published by John Murray in London in 1848, with subsequent editions.

Hard covers, light brown, with intertwined leaves printed in black. Aesop's Fables stamped in gold on the front cover and spine, with James' name added on the spine.

Tennie! did all the illustrations for the 1848 edition. In 1857 Joseph Wolf was commissioned to make additional illustrations, and these were included in the 1858 edition. Tennie! revised many of his own illustrations for the same edition.

Examination of a copy of the 1848 edition in the London Library, a private lending library noted for its Victoriana, confirmed that it was not the model for the Watabe lsoppu illustrations.

The John Murray publishing house, still on the same premises and under the same family as it was 150 years ago, regrettably does not retain a file copy of the 1858 edition, although payment of fees to Wolf and Tennie! for the 1858 edition is recorded. It is likely, however, that the 1858 edition marked the last revisions in the illustrations. Photographs in this essay are of my own copy of the 1898 edition.

The illustrators.

John Tennie! (1820-1914) was one of the most important Victorian illustrators. His de- signs for Lewis Carroll's Alice in Wonderland (1865) embody so thoroughly the feeling of this enor- mously popular book that it is hard to picture the characters or situations except in terms of Ten- niel's illustrations. The James Aesop shows the work of a much younger Tennie!, working in a more conservative vein.

Joseph Wolf (1820-1899) was born in Germany and had training in art and lithography, spe- cializing in birds and animals. From 1848 until his death he lived in London, working mainly on scientific illustrations for the British Museum and the Zoological Society. In the James Ae- sop his illustrations include both replacements for and reworkings of some of Tenniel's 1848 il- lustrations.

Appendix II: The Illustrations.

The Watabe lsoppu illustrations are shown in order of their appearance. The counterpart illustration from the James Aesop is identified by Fable; variations on this pattern are indicated.

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ThelllustrationsfOraVictorian"esOPandaMeiji lbO"" 69

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Fig.24‑b

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︲ＬＬ◇◇◇日引Ａ◇伽繊︒ザⅧ灸︒伽引矧酬︒凸●密叫ぶ⑭品一堺詳撫識戦獄鍼鍛蝿織撫雛織稚識

鯉︽︾紬錐酢蹄即稚い識識恥群詳識︑群︾癖識誰レー

マ■■■■■●●●■凸●︒？卜Ｐ︒■Ｂｐ０ｑｅｅ①①︒ｅ■Ｔ寺＄ワ︒︒ご寺﹃ロ﹄︲・昏０勺●・毎色︒今︒口も◇●ワ︒凸︒ＬＱｏ争口︒︑︑︒●︒︒●６回●︑旬のロ・・

・稗・詮●淀︒苓翻︑芋●１認寺詔認﹃粍令獣︒唖誇舛

甲■▼①●・叩ヨＧ■■争七ｒ■ｅＧ００■００４■︒︒●ｅ●︒︒︒＄︒︒■︒︒︑︑︒︒︒﹃︒Ｔ６︽や︒︒︸句︒︒︒■・腸？﹄．︐■ａ︒︒︒Ｐｏゥ︒︒︒︒︑６リワ︑△

●申①Ｇ■・■■■ｂｅ①４︒■写り４６屯■①耳■■・巽勺い

ふ︒瀧口叩︒誰︒や︒卵︒叩寺粍︒・↓︒︒．﹃嘩幹や︑︽句砺や銘しｒ

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篝

１９４．４勺１ｎＪ４ｅ１■１︐４■０

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蕊蕊議篝篝簔簔蕊篝鍔

Fig.25‑a. Vol・I11,37B/38A. Bainan(BYNAN). NotethatFigs.

24‑aand25‑aoccuronsucceedingpages, theonlysuch exampleintheWatabeISOPP"．

蕊撫瀧錘嘩麺懇職燃郷蕊蕊錘輝燕頭職韓

11III繍燕識茜雛蕊蕊蕊灘灘

I蕊職魏燕織 蜂X灘穂 1職§輝き螺嘩鱗賦

鱗嘘職靹識 ､ 蘭！ 職 唖輔 ; : ､戦跡曾函u

f燕:懲獅 . . 二 ･ . : , 鍼 識 ． ； : 蕊厩 ｡ . . や嘩睡蕊 . , 『

; : : … ・ ： ノ r;：〃;錨 ：↓ 冒 +,:‐ ↑、炎可− ・ ､ ：

Fig.25−b・ Fable203,thesucceedingpagestoFig､24−b

ThelllustrationsfbraVictorianAesOPandaMeijiI""" 85

灘

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Fig.26−a・ Vol.IV,3B/4A・ KyOsai.

Jf■F獺懲議議諺』十'職塞塞垂塗篭f亙騨1弓J■職至lt撫鰄総口 _{￥： う ･ ゞ i :§ ノ ュ 」} :T; :評§嘩黙蕊:減ゞ減: :鋸い，蓉製: : :峯褥::;↑ ;ii ,i:r:ャ･; ;二､ ； 霊滝; 号峻《 二

Fig.26‑b. Fablel8: <@TheFighting‑cocksandtheEagle.''

鐙

Kynsai Vol､1V,7B/8A

Fig.27‑a

自今

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Fable34: <@TheHouse‑dogandtheWolf''initialed JW(JosephWolf)lowerright;signedJ.W.Whymper,

theengraver.

Fig.27‑b

ThelllustrationsfbraVictorianAesOPandaMeijiISOPP" 87

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︒︒︒？︒マ︑ＣＤやｑｅ０ｈｏｑ︒︒︒︒Ｌ今︒︒︑ゅ︒６甲︒

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Fig.28. ThereisnoillustrationintheJamesAesOPtocorrespondto thisKyOsaidesign. Thestory,however, isFable69: @GThe OldWomanandthePhysician.,,

Fig.29-a. Vo]． IV,17B/18A.KyOsai.

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Fig.29-b. Fable84:

@GTheMischievousDog.，，