| OCR Text |
Show 51 Inserting Sih-Sa into this position, then, allowed the elimination of the most awkward area of the image-that of the Indian child and the seated figure at the far left. This side of the aquatint became well-balanced and complete. However, the position originally held by Sih-Sa in the proof state and now vacant needed to be filled. Bodmer accomplished this by inserting another portrait, a convenient rear view of Awascho-Dichfas.29 No reference has been found concerning this Indian's presence at the ceremony, nor anything regarding his participation in the events leading up to the dance.30 The reasons for inserting this figure may have been strictly compositional, although Bodmer's conscientious balancing of the dual demands of accuracy and artistic composition for the rest of the aquatint must be kept in mind. The compositional advantages of inserting the figure of Awascho-Dickfas into the image must have seemed obvious to Bodmer. The position originally held by Sih-Sa required a figure that could be seen as viewing the dance, and a rear-view portrait would more effectively meet this requirement than would one viewed in profile. As mentioned previously, the rear-view figure in full feather headdress depicted in both the preliminary and reference sketches of the dance was not included in the proof state of the aquatint. This is the only case in which information found in the source material was not carefully included in the print's image. However, in this first state of Tableau 27 the figure reappears; the Indian now stands to the left of Awasho-Dickfas. The presence of this figure again underscores the importance Bodmer placed on the accurate reproduction of the central figures found in his preliminary and reference |
