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In the original editions of La Fontaine’s Fables, each apologue is usually preceded by its engraving. François Chauveau took advantage of this privileged place which makes the legible and the visible succeed one another, to develop his own graphic and imaginary universe. Thus, based in particular on a strengthening of the framing, which gives his illustrations their strong autonomy, Chauveau’s reading proceeds from an original hermeneutics which distances, exceeds, and even forgets the moral or allegorical meaning of the fable. His compositions react above all to the image power of the stories invented by La Fontaine and, in particular, to the suggestions for landscapes that they inspire in him.