James Smithson - Legacy and The Smithsonian

Legacy and The Smithsonian

It was not until 1835 that the United States government was informed about the bequest. Aaron Vail wrote to Secretary of State John Forsyth. This information was then passed onto President Andrew Jackson who then informed Congress. A committee was organized and the Smithsonian Institution was founded. Smithson's estate was sent to the United States, accompanied by Richard Rush. The estate arrived as gold sovereigns in eleven boxes. Smithson's personal items, scientific notes, minerals, and library also traveled with Rush. The gold was transferred to the treasury in Philadelphia and was reminted into $508,318.46. The final funds from Smithson were received in 1864 from Marie de la Batut, Smithson's nephew's mother. This final amount totaled $54,165.38.

On February 24, 1847, the Board of Regents, who oversaw the creation of the Smithsonian, approved the seal for the institution. The seal, based on an engraving by Pierre Joseph Tiolier, was manufactured by Edward Stabler and designed by Robert Dale Owen. Smithson's papers and collection of minerals were destroyed in a fire in 1865, however, his collection of 213 books remain intact at the Smithsonian. The Board of Regents acquired a portrait of Smithson, which shows Smithson dressed in Oxford University student attire. The painting, by James Roberts, is now on display in the crypt at the Smithsonian Castle. An additional portrait, a miniature, and the original draft of Smithson's will were acquired in 1877, which now reside in the National Portrait Gallery and Smithsonian Institution Archives, respectively. Additional items were acquired from Smithson's relatives in 1878.

Read more about this topic:  James Smithson

Famous quotes containing the words legacy and/or smithsonian:

    What is popularly called fame is nothing but an empty name and a legacy from paganism.
    Desiderius Erasmus (c. 1466–1536)

    Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.
    W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)