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Show 62 that of Ahschupsa Maschichsi, several important facts come to light. There are two known watercolors for this figure. In the first, now held by the Newberry Library, the figure of Ahschupsa Maschichsi is complete; signed and dated by Bodmer, it is identified as a Minnetaree warrior. The second watercolor, included in Maximilian's personal collection (now at the Joslyn Art Museum), duplicates this original figure.^ Background has been added to the portrait and, overall, the figure is more polished. Changes in the image are minimal. Facial features are more clearly focused and refined; face painting is more defined; more detail is visible on the elaborately beaded leggings and mocassins; the gunstock club is held at a slightly different angle. Overall, the figure in the second watercolor is better proportioned and the photographic quality of the execution is more evident. The slight differences in these two portraits are more artistic than informational. However, the first portrait probably should be considered the only true primary document. Additionally, the facial features of the aquatint figure in Scalp Dance appear to resemble more closely those of the first portrait; it is possible that it was this little known watercolor that was used to copy the aquatint portrait. Viewed in this way, both the aquatint illustration and the watercolor in Maximilian's personal collection are both one step removed from the primary document. The skill with which Vogel reproduced this figure from the watercolor portrait becomes all the more obvious when compared with the image of the same Indian that also appeared in Vignette 26, Travellers Meeting at Fort Clark. Ahschupsa Masihichsi stands in the circle of Indians greeting Maximilian and Bodmer on their first visit to Fort Clark in June of 1833. Although it is clear that Alexandre Manceau, the etcher of this vignette, used |