'Art conceal'd': Peale's double portrait of Benjamin and Eleanor Ridgely Laming

40. Von Erffa and Staley, 283.

41. Kauffmann's three paintings were exhibited at the Royal Academy in 1772, 1775, and 1776; see Algernon Graves, The Royal Academy of Arts: A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904, 8 vols., London, 1905-6, IV, 299-300. For three prints after the painting at Yale (Fig. 7), see Angelika Kauffmann und ihre Zeit; Graphik und Zeichnungen von 1760-1810, Dusseldorf, 1979: Kauffmann's aquatint of 1780, done in reverse, 32, no. 30, ill. 33; Hogg's engraving of 1784 (Fig. 8), also in reverse, 60, no. 114, ill. 61; and W. Dickinson's mezzotint, 1790, 58, no. 113, ill. 59. The latter two are clearly titled Rinaldo and Armida. Hogg's engraving is also included in Angelika Kauffmann und ihre Zeitgenossen, exh. cat., Vorarlberger Landesmuseum, Bregenz, 1968, 84, no. 91f, fig. 272.

42. On Cosway's watercolor (Fig. 9) see Angelika Kauffmann und ihre Zeitgenossen (as in n. 41), 108, no. 182, fig. 273. The mezzotint by Dawe is listed in F. B. Danieli, A Catalogue Raisonne of the Engraved Works of Richard Cosway, R.A., London, 1890, 49, no. 200, dated 1780. Cosway exhibited a painting of Rinaldo and Armida at the Royal Academy exhibition in 1772, but it is not known how this related to his watercolor.

43. For the overmantel, see E. M. Fowble, "Rinaldo and Armida: An Example of Classical Nudity in Eighteenth-Century American Painting," Winterthur Portfolio, v, 1969, 49-58. The identification of the source of the image as Cosway's work was made by L. Reinhardt. The signed and dated overmantel, on American pine, was painted for Reed's Creek Farm. Clarke was active in Maryland, Delaware, and Pennsylvania in the 1780s and 1790s.

44. M. Praz, The Flaming Heart: Essays on Crashaw, Machiavelli, and Other Studies in the Relations between Italian and English Literature from Chaucer to T. S. Eliot, New York, 1958, 309, 310. See also C. P. Brand, Torquato Tasso: A Study of the Poet and of His Contribution to English Literature, Cambridge, 1965, 233.

45. Quoted in Praz (as in n. 44), 337.

46. Quoted in Brand (as in n. 44), 261-62.

47. The first American edition was published in Newburyport, Mass. and Exeter, N.H.

48. Peale's Account Book, London, 1767, records two shillings spent for "Poems"; Peale Papers, I, 65.

49. The book is listed in The Charter, Laws, and Catalogue of Books, of the Library Company of Philadelphia, Philadelphia, 1770, and was probably acquired soon after its publication; letter from Phil Lapsansky, research librarian, Library Company of Philadelphia, Oct. 13, 1994.

50. The parrot does appear in the earlier images of the subject by Domenichino (Fig. 5) and Annibale Carracci.

51. Information from Gary Graves (as in n. 24).

52 A. Ribeiro, The Dress Worn at Masquerades in England, 1730 to 1790, and Its Relation to Fancy Dress in Portraiture, New York/London, 1984, 264-68, 271. See also eadem, "Turquerie: Turkish Dress and English Fashion in the Eighteenth Century," Connoisseur, CCI, 1979, 16-23. The lines between Turkish, romantic, and classical dress were not firm, and the addition of different accessories or a change in drapery style would alter the connotation.