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Show 39 was again picked up in the completed aquatintJ^ This second pole serves another purpose as well, as it artisitically balances and gives stability to the composition. It is Bodmer's use of the second group of figures found in his reference sketch (Figure 2.2) that is the most intriguing. These rear-view sketches have been carefully reproduced by Vogel for the aquatint, but their placement in the composition has been rearranged. In the preliminary sketch (Figure 2.1) the dancers stand in a closed circle; for the aquatint this circle has been opened up at the center to provide a better view of the central figures. This arrangement more closely follows Maximilian's own description of the dance in his journal. The dancers formed two semicircles and "the two wings or horns of the crescent, advanced towards each other, and then receded, at the same time singing in a shrill tone of voice."14 While the preliminary sketch (Figure 2.1) captures the basic circular composition of the dancers, it does not give a sense of the movement of two wings advancing and receding from one another. By careful placement of these figures at the base of the circle, and opening it up to create two separate wings, not only is a more satisfying composition created, but a feeling of the movement of the dance is achieved. The costumes of this second grouping have been carefully reproduced, with placement of the two figures wearing the most interesting and elaborate costumes in the middle foreground. Although three of the four figures now appear on the left wing, which may be supposed to be the wing consisting of the male musicians, this creates a very satisfying composition, with each figure positioned in such a way as to make them seem natural participants in the central action. The figure to the right of this group in the reference sketch |