umbra is used. At that time it could mean both reflection and shadow, and it was the latter word that was preferred by William Caxton, who used Steinhöwel's as the basis of his own 1384 collection of the fables. However, John Lydgate, in his retelling of the fable earlier in the century, had used "reflexion" instead. In his French version of the story, La Fontaine gave it the title Le chien qui lâche sa proie pour l'ombre (The dog who relinquished his prey for its shadow VI.17), where ombre has the same ambiguity of meaning. Thereafter, and especially during the 19th century, the English preference was to use the word shadow in the fable's title. By this time, too, the dog is pictured as catching sight of himself in the water as he crosses a bridge. He is so represented in the painting by Paul de Vos in the Museo del Prado, dating from 1638/40, and that by Edwin Henry Landseer, which is titled "The Dog and the Shadow" (1822), in the Victoria and Albert Museum. Critics of La Fontaine had pointed out that the dog could not have seen its reflection if it had been paddling or swimming across the stream, as described in earlier sources, so crossing by a bridge would have been necessary for it to do so. However, a bridge had already been introduced into the 12th-century Norman-French account of Marie de France and Lydgate was later to follow her in providing that detail. Both also followed a version in which it is a piece of cheese rather than meat that the dog carries. Indian analogues A story close to Aesop's is inserted into the Buddhist scriptures as the Calladhanuggaha Jataka, where a jackal bearing a piece of flesh walks along a river bank and plunges in after the fish it sees swimming there. On returning from its unsuccessful hunt, the jackal finds a vulture has carried off its other prey. A variation deriving from this is Bidpai's story of "The Fox and the Piece of Meat". There a fox is on its way home with the meat when it catches sight of some chickens and decides to hunt one of them down; it is a kite that flies off with the meat it had left behind in this version. Proverbial morals In his retelling of the story, Lydgate had drawn the lesson that the one