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Show 35 of another drummer, in which elements of the two drummers in the reference sketch are combined into a more fully developed single figure, and thus, the "missing" drummer of the preliminary sketch (Figure 2.1), described by Maximilian, appears.^ Rear views of two of the women dancers in similar headdress, distinguished by two horizontally placed feathers, and a rough front view of an individual in the same style of headdress complete the sketch. A fourth sketch (Figure 2.4) contains a rough sketch of another figure in this same style of headdress.10 Because no such headdresses were recorded in the preliminary sketch of the dance, these two sketches must have been intended to further record the details Bodmer thought important to remember. From the limited resources of these four sketches, Bodmer produced Tableau 27, Scalp Dance of the Minataries. It is possible he also had reference to the description of the dance in Maximilian's journal, but it is obvious he also had to rely on his memory of the event. By the time Tableau 27 was produced, time had elapsed and there was the danger not only of faulty memory, but also that the demands of artistic composition would alter the completed image and thus decrease its documentary value. These constraints did not necessarily guarantee inaccuracy of the finished aquatint, although there certainly was a loss of immediacy. The first impression of Tableau 27 (Figure 2.5) is a proof, now held by the Newberry Library, and bears no inscriptions.11 Later states attribute Tableau 27 to Charles Vogel and almost certainly it is he who was responsible for the proof state. However, Bodmer's involvement in directing the development of the image must have been extensive, due to the limited source material |