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Show 10 English letterpress and the lower inscriptions of the later prints; this is the first indication that Tableau 25 is an early print.5 The background landscape of the watercolor was reproduced in aquatint with few real changes. The line of the distant hills and the burial scaffolds of the painting become more defined and crisp, but are easily recognizable. The totems, the most important ethnological feature of the original watercolor, have been reproduced with great care. Through all three states of this print the totems remain basically unchanged. Thus, regardless of the other observed alterations imposed upon the image, the ethnological value of this print was not lost. Other changes in the image, however, followed through from the original watercolor through the various states, are dramatic, and it can be shown that it was the peculiar demands of publishing and selling the travelbook that forced such changes to the character of the original image. It was inevitable that changes would occur as the image passed from the original watercolor to aquatint; some of these changes were due to the aquatint process itself. While the best process available for duplicating watercolor, it could by no means be considered photographic. Much of the accuracy of the process depended upon the skill of the etcher and for Tableau 25 Bodmer had to rely on Vogel's technical ability, which was further influenced by Vogel's personal style and interpretation of the image. Still other changes were deliberate and were made either for artistic or compositional reasons or to create a change in mood and appeal. One of the most difficult problems Bodmer faced was technical in nature. An average of 355 prints would be pulled from each plate for the German edition alone. By the time the French and English editions had been |