I thank Chris Labarthe, David C. Miller, David Steinberg, Robin Veder, Alan Wallach, and Jochen Weirich for reading and criticizing this essay.

1. The work of Alan Wallach, Kenneth Myers, Roger Stein, and many others likewise emphasizes the circumstances and conditions of the production of landscape aesthetics.

2. Miller, Angela, Empire of the Eye: Landscape Representation and American Cultural Politics, 1825–1875 (Ithaca: Cornell University Press, 1993), 4Google Scholar.

3. McGehee, C. Stuart, “‘The Property and Faith of the City’: Secession in Chattanooga,” East Tennessee Historical Society's Publications 60 (1988): 23–38, 24Google Scholar.

4. Council, R. Bruce, Honerkamp, Nicholas, and Will, M. Elizabeth, Industry and Technology in Antebellum Tennessee: The Archaeology of Bluff Furnace (Knoxville: University of Tennessee Press, 1992), 52Google Scholar.

5. Ibid., 54, 65. See also Gaston, Kay B.'s article “The Remarkable Harriet Whiteside,” Tennessee Historical Quarterly 40 (Winter 1981): 333–46Google Scholar. For more on early Chattanooga and East Tennessee, see Wheeler, William Bruce and McDonald, Michael J., “The Communities of East Tennessee, 1850–1940: An Interpretive Overview,” East Tennessee Historical Society's Publications 58–59 (1986–1987): 338Google Scholar.

6. Gaston, , “Remarkable Harriet Whiteside,” 335Google Scholar.

7. Council, et al. , Industry and Technology, xi, ch. 3Google Scholar.

8. Ibid., 65.

9. 1860 Census, Hamilton County, Tennessee; Council, et al. , Industry and Technology, 74Google Scholar; and McGehee, , “Property and Faith,” 25Google Scholar.

10. Gaston, , “Remarkable Harriet Whiteside,” 336–37Google Scholar.

11. Bishop, Budd, “Three Tennessee Painters,” Antiques 100 (09 1971): 432–37, 436Google Scholar. For more on early Tennessee artists, see Bishop, , “Art in Tennessee,” Tennessee Historical Quarterly 29 (Winter 1970): 379–89Google Scholar.

12. See Myers, Kenneth J., “On the Cultural Construction of Landscape Experience: Contact to 1830,” in American Iconology: New Approaches to Nineteenth Century Art and Literature, ed. Miller, David C. (New Haven: Yale University Press, 1993), 58–79Google Scholar.

13. Jenkins, Gary, in Taking the Old Mountain Road (Chattanooga: Goliath, 1994)Google Scholar, and Gaston both discuss Whiteside's suggestion for Chattanooga's name.

14. Quoted in Myers, Robert M., The Children of Pride: A True Story of Georgia and the Civil War (New Haven: Yale University Press, 1972), 163Google Scholar. For other stories, see Jenkins, Taking the Old Mountain Road.

15. On Italianism in Colonel and Mrs. James A. Whiteside, see Poesch, Jessie J., “Growth and Development of the Old South: 1830–1900,” in Painting in the South: 1564–1980, project dir. Ella Prince Knox (Richmond: Virginia Museum of Fine Arts, 1983), 80Google Scholar. Poesch's comments on Cameron's work, though brief, are a rare example of a discussion of this painting in a larger context.

16. Henning, William Jr, ed., A Catalogue of the American Collection, Hunter Museum of Art (Chattanooga: Hunter Museum of Art, 1985), 35Google Scholar.

17. John Davis also points out that conversation pieces only gained substantial popularity after the Civil War. While Davis's reading of The Brown Family and its reception is useful, Southern domestic groups by Cameron and other artists cast doubt on some of Davis's generalizations about the appeal of American conversation pieces, given the contrast between Northern and Southern ideologies of commerce, family, and racial morality (“Children in the Parlor: Eastman Johnson's Brown Family and the Post-Civil War Luxury Interior,” American Art 10 [Summer 1996]: 50–83, 52Google Scholar.

18. Vann Woodward, C., The Burden of Southern History (Baton Rouge: Louisiana State University Press, 1968), 13Google Scholar.

19. See Bermingham, Ann, Landscape and Ideology: The English Rustic Tradition, 1740–1860 (Berkeley: University of California Press, 1986)Google Scholar.

20. Williamson, Joel, A Rage for Order (New York: Oxford University Press, 1986), ch. 1Google Scholar. Philippe Ariès, in a different context, argues persuasively for reading depictions of humans as infantilized or as matured as indicators of a culture's sense of the place and responsibility of those depicted in both domestic and political economies (Centuries of Childhood: A Social History of Family Life, trans. Baldick, Robert [New York: Vintage, 1962]Google Scholar).

21. Rodgers, Daniel T. and Wilentz, Sean, “Languages of Power in the United States,” in Language, History and Class, ed. Corfield, Penelope J. (Oxford: Basil Blackwell, 1991), 240–63; 246Google Scholar. For the American Art-Union, see Miller, Lillian B., Patrons and Patriotism: The Encouragement of the Fine Arts in the United States, 1790–1860 (Chicago: University of Chicago Press, 1966), 160–72Google Scholar.

22. Taylor, John, Arator: Being a Series of Agricultural Essays, Practical and Political, ed. Bradford, M. E. (1818; rept. Indianapolis: Liberty Classics, 1977)Google Scholar.

23. Wallach, Alan, “Making a Picture of the View from Mount Holyoke,” in Miller, , American Iconology, 80–91, 80Google Scholar. See Myers, Kenneth J., The Catskills: Painters, Writers, and Tourists in the Mountains, 1820–1895 (Yonkers: Hudson River Museum of Westchester, 1987)Google Scholar.

24. Walker, Robert Sparks, Lookout: The Story of a Mountain (Kingsport, Tenn.: Southern, 1941), 197Google Scholar.

25. Wallach, , “Making a Picture,” 84Google Scholar.

26. Joseph Addison and Steele, Richard, Selections from “The Tatler” and “The Spectator” of Steele and Addison, ed. Ross, Angus (Harmondsworth: Penguin, 1982), 369, 371Google Scholar.

27. Miller, David, Dark Eden: The Swamp in Nineteenth-Century American Culture (New York: Cambridge University Press, 1989), 11Google Scholar.