Four pages to track major developments in Longfellow’s life from his youth in Portland where he first showed literary talent, through the years learning languages in Europe and taught at Bowdoin College, to move to Cambridge, Massachusetts, where he taught at Harvard, married Fanny Appleton, become a father, and wrote many of the most enduring poems, and finally be the year both as a poet-brother celebrity and grieving widower.

Information on the following pages largely taken from Longfellow: A Life rediscovered by Charles Calhoun and from an essay by Richard D’Abate, “Henry Wadsworth Longfellow: A Man of Letters” in Henry Wadsworth Longfellow and His Portland Home. For more information about these and other sources, please refer to the bibliography.

It is reasonable to speculate that Ann Hall Longfellow miniature painted her in 1845 while looking Franquinet print, not a poet.

Figure awkwardly implies a tendency to idealize overextension: works from the print and not the subject of life, he was given as a poet of middle age overweight children.

Hall nonetheless important miniaturist of New England, was born in Pomfret, Connecticut, trained in Newport and New York City.

ivory small in relation to a broad range of fingerprint-based Franquinet shows two cultural phenomena. One, the popularity of Longfellow’s fast-growing, and, two, new print technology was treated demand for celebrity pictures.

The gentlefolk of the 19th century were obsessed with the afterlife. In 1850, when the life expectancy of a 10-year-old was 58, preparing for the spirit world was a priority. This resulted in a collective morbidity and a fascination with ghosts, seances, hypnotism and objects belonging to the deceased. Sinister and menacing though these hobbies were, they reveal the counter-point of death, which is the rapture of being alive.

Along with the rage for hypnotism, teleporting, illusionism and spirit communing was a more serious scientific interest in neurology and the tenuous lines between life and death.