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Show 114 etchers, while also serving to re-emphasize how important Bodmer's experience in producing his albums had been for the documentary and artistic value of Travels' illustrations. The differences between Schinz's lithographs and Bodmer's aquatints are dramatic. The faithfulness with which Bodmer reproduced the detail and feeling of his original watercolors was lost in Schinz's lithographs. Bodmer's Scalp Dance was one of the Travels illustrations reproduced in lithography.4^ Much of the vitality and most of the detail and sense of depth are lost in Schinz's cropped version of the ceremony. It was not that the detail in Bodmer's aquatints was impossible to achieve through lithography; rather, the inferior quality of Schinz's lithographs was the result of the work of less-experienced lithographic technicians and the absence of Bodmer's direct control over the production of the images. Bodmer had enlisted a group of artists who, for the most part, were the best Europe had to offer.47 And their participation in producing the illustrations for Travels was the direct result of Bodmer's previous experience in the travelbook genre. In May 1837 Bodmer had written to Maximilian, after delivery of the first issue of copperplates had been completed.48 Maximilian was pleased with these first proofs and Bodmer assured him that the quality of the plates would continue to improve. Bodmer told Maximilian that he was still trying to enlist more etchers to work on Travels and had chosen some of the less-complicated plates for the first issue, unwilling to risk producing any of the composite plates until he had become better acquainted with the etchers.4^ Bodmer's experience in the publication of previous travel albums had rested exclusively on the production of landscape illustrations. However, the |