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

83. Wheeler, 1939 (as in n. 82), 118.

84. Ibid., 129.

85. Davis, 1979 (as in n. 82), 103.

86. J. A. Leo Lemay, A Calendar of American Poetry in the Colonial Newspapers and Magazines and in the Major English Magazines through 1765, Worcester, 1972, 250, 270, 283; and J. A. Leo Lemay, ed., Robert Bolling Woos Anne Miller: Love and Courtship in Colonial Virginia, 1760, Charlottesville, Va./London, 1990, 46, 63, 74n, 76n. Our thanks to Leo Lemay for his assistance with these references to Tasso's popularity (or lack of it) in colonial Maryland and Virginia.

87. In addition to other works by Tasso, Jefferson owned three copies of Gerusalemme Liberata: two were in the original Italian and the third was Hoole's translation in the 1764 edition, acquired in 1785 from Rev. Samuel Henley. See Catalogue of the Library of Thomas Jefferson, comp. E. Millicent Sowerby, Charlottesville, Va., 1983, IV, 425-26; and Jefferson to Henley, Mar. 3, 1785, in Julian P. Boyd, ed., The Papers of Thomas Jefforson, Princeton, N.J., 1953, VIII, 11-14.

88. Maryland Journal and Baltimore Advertiser: a paraphrase from the Song of Solomon, Aug. 29, 1788; William Cowper, "Address to Domestic Happiness," June 17, 1788; anonymous, "A Danish Song," July 18, 1788; and Earl of Carlisle, "A Song," Oct. 4, 1788.

89. On these portraits see S. Hart, "A Graphic Case of Transatlantic Republicanism," Pennsylvania Magazine of History and Biography, CIX, 1985, 203-13, in Miller and Ward (as in n. 9), 73-81; R. H. Saunders and E. G. Miles, American Colonial Portraits, 1700-1776, Washington, D.C., 1987, 284-86; and K. A. Lawson, "Charles Willson Peale's John Dickinson: An American Landscape as Political Allegory," Proceedings of the American Philosophical Society, CXXXVI, no. 4, 1992, 455-86. Peale continued to use emblems to convey meaning in portraits, e.g., in his late self-portrait, The Artist in His Museum (1822); see R. Stein, "Charles Willson Peale's Expressive Design: The Artist in His Museum," Prospects: An Annual of American Cultural Studies, VI, 1981, 139-85, rev. in Miller and Ward (as in n. 9), 167-218.

90. Fortune (as in n. 61), passim; for Thomson's Seasons, see ibid., 597, 602-5.

91. Sellers, 193, no. 788, pl. 185; 75, no. 251, pl. 187.

92. Sellers, 89, no. 304, pl. 216; and S. K. Johnston, American Paintings, 1750-1900, from the Collection of the Baltimore Museum of Art, Baltimore, 1983, 113-14.

93. R. Fleischer, "Emblems and Colonial American Painting," American Art Journal, XX, no. 3, 1988, 28-31.

94. Penny (as in n. 79), 195-96, no. 34; 197-99, no. 36; 224-25, no. 57; 262-63, no. 90; 324-25, under no. 151, the replica at the Dulwich College Picture Gallery, London.

95. Ibid., 214-16, no. 48.

96. Ibid., 228-29, no. 61.

97. See L. Bradley, "Eighteenth-Century Paintings and Illustrations of Spenser's Faerie Queene: A Study in Taste," Marsyas, xx, 1979-80, 41; and E. P: Bowron, European Paintings before 1900 in the Fogg Art Museum: A Summary Catalogue, Cambridge, Mass., 1990, 127, 140. Other painters who used characters from Spenser in portraits included George Stubbs in his Isabella Saltonstell as Una (1782; Fitzwilliam Museum, Cambridge); Maria Cosway in The Duchess of Devonshire as Cynthia (1784; Chatsworth); and John Singleton Copley in The Red Cross Knight (1793; National Gallery of Art, Washington, D.C.); see Bradley, 42.