Romantic days in old Boston; the story of the city and of its people during the nineteenth century . ?- 00 ~^X -T- 111 l. 5 :i •2 S, IN OLD BOSTON 285 death in 1843, indeed, — at the Belshazzar,on which several liberal Bostonians had ad-vanced part of the purchase price of ten thou-sand dollars demanded for it. Worry over hisinability to complete this work is believed tohave hastened Allstons death. The pictureis now in the Boston INIuseum of Fine Arts. The next Boston painter of genius — forneither Chester Harding nor Joseph Ames, whowere popular portrait painters of the nineteenthcentury, de
Romantic days in old Boston; the story of the city and of its people during the nineteenth century . ?- 00 ~^X -T- 111 l. 5 :i •2 S, IN OLD BOSTON 285 death in 1843, indeed, — at the Belshazzar,on which several liberal Bostonians had ad-vanced part of the purchase price of ten thou-sand dollars demanded for it. Worry over hisinability to complete this work is believed tohave hastened Allstons death. The pictureis now in the Boston INIuseum of Fine Arts. The next Boston painter of genius — forneither Chester Harding nor Joseph Ames, whowere popular portrait painters of the nineteenthcentury, deserve this appellation — was WilliamMorris Hunt, who made his home in our cityfrom 1862 until his death in 1879. Hunt wasborn in Brattleboro, Vermont, in 1824 and heentered Harvard College in 1840. But hequitted Cambridge without taking his degreeand, after studying at Diisseldorf and in Cou-tures atelier in Paris, fell under the spell ofMillet, through whose influence his work grewnotably in depth and power. AYhen I cameto know Millet, he has said, I took broaderviews of humanity, of the world, of life. His
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectbostonm, bookyear1922
