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Show 99 Revising the Methodology: Whv the Image Did Not Change Nineteenth-Century Book Illustration and Publication of Travels It is not surprising that few artistic changes were made in the image of The White Castles when it was reproduced for Travels. The romantic elements and associations inherent in the watercolor image were well-suited for travelbook illustration. Picturesque landscapes were a major component of nineteenth-century travelbook literature; these landscapes were very familiar to European audiences and their inclusion in any descriptive narrative was expected. As a result, only very minor modifications can be traced through any of the three states of the aquatint, Tableau 37, The White Castles. Therefore, the methodology used in this paper for examination of previous prints must be revised; close comparison of changes within the various images will not serve. Rather, examination must turn to the reasons why the image did not change. By placing this aquatint in context with the functions and expectations of nineteenth-century travelbook illustration, by examining the methods of production and the problems that arose because of the method of publication, the documentary and artistic value of the images of the White Castles may be further illuminated. After traveling through America for two years, Bodmer and Maximilian returned to Europe in July of 1834. For both of them the work ahead would prove frustrating. Maximilian intended to publish an account of his expedition and started his search for a willing publisher. Although Maximilian had influence and connections throughout Europe, finding a publisher to take on the proposed book was not as easy as he had anticipated. Maximilian was determined to publish his book in a format that would incorporate the |