Huntington

tern, and that great organization remains his
monument

[There is a biography of Huntington in H. H. Ban-
croft, Chronicles of the Builders of the Commonwealth,
vol. V (1891), and information concerning his work
can be found in Stuart Daggett, Chapters on the Hist,
of the Southern Pacific (1922), and in histories of
California and of the Pacific railroads. The San Fran-
cisco Examiner, Dec. 25, 1890; the Railway Age, Aug.
17, 1900; and the Am. Monthly Rev. of Revs., Sept.
1900 contain extended biographical sketches. The offi-
cial death notice appeared in the N. Y. Times, Aug. 17,
1900. Genealogical information is contained in The
Huntington Family in America (1915). Mention may
also be made of C. E. Russell, Stories of the Great Rail-
roads (1912); E, L, Sabin, Building the Pacific Rail-
way (1919) ; H. J. Carman and C. H. Mueller, "The
Contract and Finance Company of the Central Pacific
Railroad," in Miss. Valley Hist. Rev., Dec. 1927; and
of the report of and the testimony taken by the United
States Pacific Railway Commission, Senate Exec. Doc.
No. 51, 50 Cong., i Sess., vols, II, IV, V. Most of the
statements in the text are based upon manuscript and
other source material in the Bancroft Library of the
Univ. of Cal., and in the Hopkins Library at Stanford
Univ., Cal.] g rj.

HUNTINGTON, DANIEL (Oct. 14, 1816-
Apr. 18,1906), painter, brother of Jedediah Vin-
cent Huntington \_q.v.}, was born in New York
City, the son of Benjamin and Faith Trum-
bull (Huntington) Huntington. His maternal
grandfather was Gen. Jedediah Huntington
[#.#.]. When a boy Daniel was sent to New
Haven to be prepared for Yale University by
the Rev. Horace Bushnell. After a year at Yale
he entered Hamilton College in central New
York in 1832. It was while there that he
made the acquaintance of Charles Loring Elliott
[q.v.], who was only four years older than he
but yet able to make a more or less precarious
living by going from place to place painting por-
traits at a nominal price. It was such an enter-
prise that brought Elliott to Hamilton College
where he painted students' portraits at five dol-
lars each. Huntington's was one of those he
painted. Encouraged by Elliott's favorable com-
ments on his work Huntington seems at that
time to have determined to become an artist At
least he borrowed brushes and other materials
from Elliott and made attempts at painting
groups of his friends. After leaving college in
1836 he at once returned to his home in New
York City and forthwith placed himself under
Samuel F. B. Morse who was president of the
National Academy of Design and professor of
the literature of art in the University of the City
of New York. A little later he became a stu-
dent tinder Inman. In time he entered the Na-
tional Academy and progressed so rapidly that
m 1838 he had the honor of having his portrait
rf his father hung "on the line/' In 1837 he
fead exhibited "The Barroom Politician" and
"A Toper Asteep," and in the previous year

Huntington

he had spent some six months doing landscapes
in the Catskills. He thus definitely associated
himself with the so-called Hudson River School.
To this period belong "Dunderberg Mountain"
and "The Roundout Hill—Twilight."

The year 1839 Huntington spent in Rome,
Florence, and Paris. From Florence came the
"Florentine Girl" and the "Sibyl" which later
was engraved by John William Casilaer \_q.v.~\.
In Rome he painted "The Shepherd Boy" and
the "Early Christian Prisoners/' Upon his re-
turn to New York in 1840 he painted "Mercy's
Dream," of which he later made several replicas.
At this time he also produced "Christiana and
her Children." He had been elected an associ-
ate of the National Academy in 1839 and in the
following year he was made an Academician.
He now found himself called upon to paint many
portraits, and this work he alternated with an
ambitious attempt to illustrate The Pilgrim's
Progress. Owing to an inflammation of the eyes,
however, he was obliged to curtail his work, so
with his bride, Harriet Sophia Richards, whom
he had married on June 16, 1842, he departed
once more for Italy. For three years he re-
mained in Rome, whence he sent back "The Ro-
man Penitents," "The Sacred Lesson," and some
landscapes. After returning to New York in
1845 he resumed his major work, portraiture,
although at the same time he found opportunity
to execute historic and genre subjects. In 1851
he left America to visit the exhibition at the
Crystal Palace, London. He was invited to
paint the portraits of many distinguished for-
eigners, among whom were Sir Charles East-
lake and the Earl of Carlisle, and remained
abroad until 1858. Except for the years 1869-
77 he was president of the National Academy
from 1862 to 1891. In 1882 he once more vis-
ited Europe, this time going to Spain, where
among other works he painted "The Goldsmith's
Daughter" and "The Doubtful Letter." His life
may be said to have spanned nearly a century of
American painting. His early life, however,
came at an unfortunate period when taste was
low and platitude was mistaken for grandeur.
His subjects, when not portraits, were largely
devoted to narrative, historic themes in whicb
morality and virtue were emphasized. Even his
portraits, which totaled a thousand out of his
list of twelve hundred works, are conspicuous
for a quality of goodness which can be explained
in part by the fact that the artist himself was
a man of deep religious feeling. From the tech-
nical point of view he suffered by having come
just too late to be able to profit from the sound
training he might have received in a studio such

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