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Show 113 travelbook publication and provides a unique opportunity to compare the relative documentary and artistic merits of the meticulous aquatint illustrations of Travels with those of the less-expensive lithographs, which by this time were beginning to overtake the industry. It is by following the events that resulted from Maximilian's and Bodmer's connection with this naturalist that both the artistic and documentary functions of the aquatints can be better understood. Almost immediately upon his return to Europe, Maximilian resumed his correspondence with Schinz; through this correspondence, Maximilian's own regard for the documentary value of Bodmer's American paintings is revealed. In a letter dated September 11, 1834, Maximilian discussed with Schinz the proposed publication of Travels.44 He explained that the publication details were uncertain, as he had been unable as yet to find a publisher. Nonetheless, Maximilian remained optimistic. His confidence regarding the ultimate sucess of Travels, as implied in his letter to Schinz, rested in large part upon his firm belief in the value of Bodmer's illustrations. In late September Schinz traveled to Neuwied, where he examined Bodmer's watercolors and sketches for himself. Schinz was enthusiastic in his praise for the quality and documentary value of the materials and , according to Hans Lang, asked Maximilian for permission to use some of the portraits in the second edition of his natural history book, Naturgeschichte.45 Each of the images Schinz selected for his lithographic illustrations were later used by Bodmer for his own aquatints, thus providing an excellent means of comparing the quality of the two media and the skill of Bodmer's |