Art and Commerce in Jacksonian America: The Steamboat Albany Collection

(56.) S. K. Heninger Jr., "The Orgoglio Episode in The Faerie Queene," ELH 26 (1959): 180. See also D. Douglas Waters, Duessa as Theological Satire (Columbia, Mo.: University of Missouri Press, 1970). The relevance of Spenser's anti-Catholic allegory to Morse's painting was first pointed Out in Philip R. Rider, "Samuel F. B. Morse and The Faerie Queene," Research Studies 46 (1978): 205-13. See also Joann Peck Krieg. "The Transmogrification of Faerie Land into Prairie Land," Journal of American Studies 19 (1985): 202-4.

(57.) Vroom (as in n. 10). A similar description of the subject of the Lawrence landscape appears in an article in the Kingston (N. Y.) Argus, Jan. 30, 1913.

(58.) Two watercolors of the steamboat landing showing Bonaparte's adjacent estate, together with a third watercolor showing a close-up of the main house, by the German artist Karl Bodmer are reproduced in Joslyn Art Museum, Karl Bodmer's America (Omaha: Joslyn Art Museum, 1984), 46--48. Henry Bradshaw Fearon, Sketches of America (London: Longman, 1818), 132, reports that in l8l7 Joseph Bonaparte owned a steamboat. I have not been able to verify this, but it seems plausible. If Bonaparte did have an interest in any local transportation industries, it would probably have been in partnership with the Stevenses.

(59.) "Joseph Bonaparte," New Yark Review 5 (June 21, 1828): 398. For additional examples, see Niles' National Register 11 (Sept. 28, 1816): 77:12 (July 19, 1817): 334, and (Aug. 23, 1817): 411; 17 (Jan. 29, 1820): 372; 24 (May 31, 1823): 208; 28 (May 7, 1825): 148, and (July 9, 1825): 304; and 31 (Oct. 7, 1827): 91. See also "Joseph Napoleon," American Quarterly Review 5 (June 1828): 543-73.

(60.) For Bonaparte's art collection, see Catalogue of Valuable Paintings and Statuary, the Collections of the Late Joseph Bonaparte (Philadelphia: Thomas Birch Jr., 1845); Catalogue of Rare, Original Paintings...Belonging to the Estate of the Late Joseph Napoleon Bonaparte (New York: Anthony Bleecker, 1847); E. M. Wood-ward, Bonaparte's Park, and the Murats (Trenton, N.J.: MacCrellish and Quigley, 1879), 53-69; Michael Benisovich, "Sales of French Collections of Paintings in the United States during the First Half of the Nineteenth Century," Art Quarterly 19 (1956): 191-98; and Owen Connelly, The Gentle Bonaparte: A Biography of Joseph, Napoleon's Elder Brother (New York: Macmillan, 1968), 250. The valuation is from "Joseph Bonaparte," Niles' National Register 17 (Jan. 15, 1820): 334. The presence of the David is noticed in several contemporary travel accounts, among the most detailed of which are Helen Berkley [Anna Mowatt], "A Sketch of Joseph Buonaparte," Godey's Lady's Book 30 (Apr. 1845): 187; and Franc es Wright, Views of Society and Manners in America (1821; reprint, Cambridge, Mass.: Harvard University Press, 1963), 73. The provenance of the Malmaison painting is traced in Musee du Louvre, Jacques-Louis David 1748-1825 (Paris: Ministere de Ia Culture, 1989), 381-85.

(61.) Thomas Jefferson, Notes on the State of Virginia (1785; reprint, New York: Harper and Row, 1964), 16-17.