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Measures for Progress: A History of the National Bureau of Standards

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LOOKING BACK 25<br />

many more as he could obtain from o<strong>the</strong>r domestic and <strong>for</strong>eign sources, and<br />

presented his findings in two reports on January 27 and June 29, 1832. As<br />

had Secretary <strong>of</strong> State Adams in 1820, Hassler found no two customhouses<br />

in <strong>the</strong> country where <strong>the</strong> pound or bushel were <strong>the</strong> same, <strong>the</strong> great discrepan-<br />

cies producing "inequalities in <strong>the</strong> duties levied at <strong>the</strong> different ports." In<br />

fact, "hardly any custom houses have actual standards. All equally refer, <strong>for</strong><br />

weights and measures <strong>of</strong> any kind, to <strong>the</strong> city sealers <strong>of</strong> <strong>the</strong> place or those<br />

Ferdinand Rudolph Hassler, first Superintendent <strong>of</strong> Weights and <strong>Measures</strong>, from a<br />

painting made probably sometime between 1830 and 1840, by Capt. William G. Williams<br />

<strong>of</strong> <strong>the</strong> Topographical Corps, U.S. Army.<br />

According to a long inscription pasted on <strong>the</strong> back <strong>of</strong> <strong>the</strong> canvas, <strong>the</strong> recollection <strong>of</strong><br />

Mary Hassler Newcomb, granddaughter <strong>of</strong> Hassler and wife <strong>of</strong> Pr<strong>of</strong>. Simon Newcomb,<br />

<strong>the</strong> portrait hung <strong>for</strong> many years after its completion on a bare brick wall in <strong>the</strong> Lee<br />

home in Arlington, Va. In April 1864 it came into <strong>the</strong> hands <strong>of</strong> Pr<strong>of</strong>. Louis Agassiz,<br />

who gave it to <strong>the</strong> <strong>National</strong> Academy <strong>of</strong> Sciences, to keep "as a <strong>for</strong>erunner <strong>of</strong> portraits<br />

<strong>of</strong> our noted scientists."<br />

It was hung <strong>for</strong> several years in <strong>the</strong> west end <strong>of</strong> <strong>the</strong> Smithsonian, <strong>the</strong>n disappeared<br />

until 1874, when Pr<strong>of</strong>essor Newcomb, going "to <strong>the</strong> tower <strong>of</strong> <strong>the</strong> Smithsonian to see<br />

after <strong>the</strong> working <strong>of</strong> <strong>the</strong> artificial transit <strong>of</strong> Venus," found it <strong>the</strong>re covered with dust<br />

and somewhat damaged. Hassler's granddaughter claimed it and plans were made to<br />

send it to <strong>the</strong> Coast Survey. In concert with Pr<strong>of</strong>. Joseph Henry, Pr<strong>of</strong>. Julius E.<br />

Hilgard, and Pr<strong>of</strong>. Charles S. Peirce, Mrs. Newcomb had <strong>the</strong> painting restored at<br />

Mr. Hem's studio <strong>for</strong> $20.<br />

Ei<strong>the</strong>r <strong>the</strong> Coast Survey refused <strong>the</strong> portrait or Mrs. Newcomb decided to keep it,<br />

<strong>for</strong> it has remained in <strong>the</strong> Hassler family since. In 1965 its present owner, Dr. Ha.ssler<br />

Whitney oJ Princeton, N.J., had <strong>the</strong> painting restored once more and presented it to<br />

<strong>the</strong> Coast and Geodetic Survey, to be hung in its new quarters at Rockville, Md.

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