The mid sixteenth century wave of encyclopaedic publications about fish and other water creatures introduced massive numbers of newly made naturalia images. This article concentrates on the phase of image making and collecting that came before print. The focus is on the lost album with fish drawings created before 1551 by the Venetian humanist Daniele Barbaro and his personal painter Maestro Plinio. Naturalists such as Belon, Salviani and Aldrovandi borrowed and copied Barbaro's fish drawings. This case study indicates that a revolutionary visual turn took place before the 1550s in the domain of drawing, and was only in part connected with printing projects; that the notion of an encyclopaedic image collection of aquatilia was most likely inspired by innovations in botany; and that expert patron-collectors played a key role in it, setting visual trends and stimulating scientific passions.

16 世纪中叶关于鱼类和其他水生生物的百科全书出版浪潮引入了大量新制作的自然图像。本文重点介绍印刷之前的图像制作和收集阶段。重点是由威尼斯人文主义者 Daniele Barbaro 和他的私人画家 Maestro Plinio 在 1551 年之前创作的带有鱼画的丢失专辑。Belon、Salviani 和 Aldrovandi 等博物学家借用并复制了 Barbaro 的鱼画。这个案例研究表明，在 1550 年代之前，绘画领域发生了革命性的视觉转变，并且仅部分与印刷项目有关；水生动物百科全书式图像集的概念很可能是受到植物学创新的启发；专家赞助人收藏家在其中发挥了关键作用，设定了视觉趋势并激发了科学热情。