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Show 40 (Figure 2.2), that of a dancer wearing a full-feather bonnet seen in the preliminary and reference sketches (Figures 2.1 and 2.2), is missing in this proof state. Later, this figure will reappear in the first state of Tableau 27. Vogel used the last group, the musicians found in the reference and third sketches of the dance (Figures 2.2 and 2.3), to complete the inner circle. Three drummers-described by Maximilian and found in the preliminary sketch (Figure 2.1), and developed in the reference and third sketches (Figures 2.2 and 2.3)--are placed to the left of the central figures. Unlike the static figures in Bodmer's portfolio, they are now animated. However, instead of the four musicians holding rattles, as described by Maximilian and noted by Bodmer in his diagram of the dance, only two, the same number as in Bodmer's reference sketch, have found their way into the aquatint. Like the drummers, these figures, caught in a suspended moment of action, are now animated participants.^ The other figures drawn from sketches three and four (Figures 2.3 and 2.4) were also incorporated into the aquatint. Two Indians placed to the right within the inner circle wear the distinctive two-feather headdresses. The first of these figures, a rear view, is taken directly from the third sketch (Figure 2.3). Another Indian, nearby, faces outward and is a composite of the remaining drawings found in the third and fourth sketches (Figures 2.3 and 2.4). In keeping with Bodmer's use of his reference materials, this last Indian has been further developed, showing more regalia and facial detail. It is interesting to observe Bodmer's economy, whereby he utilizes every reference in his sketches of the dance to the maximum. Without exception, |