American Art Journal, 23, No. 1 (1991), pp.20-37. Troyon points OUt that despite the general popularity of landscape paintings at this time, It was not until the late 1840s that they started playing a m^or role in the Art-Union's pubiicatlons. 2. Troyon; Sarah Bums, Paaortd Inventions: Rural Ufe in Nineteenth Century American Art and Cukure (Philadelphia: Temple University Press, 1989); Raymond O'Brien. American Sublane: Landscape and Scenery of the Lower Hudson Valley (Columbia University Press, New York, 1981), pp.170-175, 184-190, 224- 225. Thomas Cole's seminal essay on American Scenery was not published until 1835. 3. These concepts are discussed extensively by Leo Marx, The Machine m the Garden: Technology and the Pastoral Ideal m America (New York: Oxford University Press, 1964, 1967). 4. News of the event was reported In the Westchester Herald, Sing Sing, 5 July 1842 (Caleb Roscoe, Proprietor) and other sources. 5. Quoted in George H. Rappole, "The Old Croton ^quetiuct," Journal of the Society of Industrial Archeology, 4, No. 1 (1978), p. 23. He cites; Philip Hone, The Diary of PH.. 1828-1851, ed. Alien Nevins (New York, 1936), pp.624-626. 6. Charles King, A Memoir of the Construction, Cost and Capacity of the Croton Aqueduct ... together with an account of the Civic Celebration (New York: Printed by Charles King, 1843), p.226; Charles Wesley, "Westchester County Watersheds as a supply for New York City," in Alvah P. French, History of Westchester County, New York, New York and Chicago, 1925, p. 349. 7. King has the most complete description of the opening festivities, p.57 ff. 8. King, p.261; and The Evening Post, New York, October 15. 1842. 9. The Evening Post, New York, October 15, 1842; King, p. 299-300. The poem was reprinted on silk souvenir ribbons, as well as published as sheet music by AtwIII & Co. Broadsides with the text, printed by Nesbitt, were distributed during the celebration procession. A note at the bottom of the broadside describes the manner of Its distribution (above artifacts coll. Museum of the City of New York). 10. Joseph G. E. Hopkins, ed.. Concise Dictionary of American Biography (New YorK: Charles Scrlbner's Sons, 1964), p,520. 11. King. p. 221. 12. Reprinted in The Evening Post, New York, October 15, 1842. 13. Lt. Theophilus Schramke, Description of the New York Croton Aqueduct in English, German and French (New York and Berlin: printed by Mundt, 1846). Schramke published the only known illustration of workers on the initial phase of the Aqueduct project. A straightforward view of masonry work In a tunnel, his origi- nal ink and wash drawing Is In the collection of the Engineering Societies' Library (ESL Information Services). 14. King, p.221. 15. The many commercial listings of private plumbers wishing to obtain work bringing Croton water into residences (for example in several 1842 issues of the New York The Evening Post) bring to mind a number of issues, not the least of which is the fact that — though elaborate indoor facilities were now available — they were available at a price. As Jeffrey Kroessler makes clear, the Aqueduct brought water to a city filled with many buildings not designed for such indoor services. 16. Fayette B. Tower, Illustrations of the Croton Aqueduct (New York and London: Wiley & Putnam, 1843), pp. 111-112, plate XX. Also described in The Citizen and Strangers' Pictorial and Business Directory for the City of New York and Its Vicinity, 1853, pp.227, 247, which called it "Maid of the Mist." Tower called it the "Jet." 17. Tower, p. 112 (his italics). 18. In researching the Aqueduct project the first chief engineer. David Bates Douglas, had written to artist and inventor Samuel F. B. Morse for his opinion of European Aqueducts — Morse responded by saying he knew them only as a painter, rather than having any practical Infonnation. (Letter In Douglass Papers, In The Archives, Warren Hunting Smith Library, Hobart and William Smith College, Geneva, NY). 19. Tower, preface (his Italics). 20. Such classic Romantic pictorial techniques are discussed. In general and in reference to other artworks, by O'Brien, Bums, and others. 21. Helen Tower Wilson, a descendant of Tower, owns several of the original drawings, as vi«ll as numerous personal letters by Tower. 22. O'Brien discusses the cow image, borrowed from the tradition of English land- scape paintings in the pastoral mode, pp.186, 316 (n.72). 23. Private collection, Helen Tower Wilson, along with other related letters. Tower apparently produced his book under his own enterprise and with his own money. Later, he also wrote that the book was well received. 24. Mary Bartlett Cowdrey, American Academy of Fine Arts and American Art- Union Exhibition Record, 1816-1852 (New York; The New York Historical Society, 1953), p.185. According to York Gallery, the figures in Hill's watercolor may be dredging the road, yet their niral surroundings and