Momentum for the comes at a time when Americans are reexamining foundational values of equality and democracy. President Joe Biden's inaugural address urged national unity to heal political and social rifts, and his push to get the project-in the works since 2015 to replace Andrew Jackson's portrait with Harriet Tubman's on the $20 bill-back on track supposedly helps do just that.

This is not the first attempt to use currency to forge a national identity by commemorating a shared heritage. An earlier experiment 125 years ago attempted to do the same. But-spoiler alert-it failed in every sense.

The United States introduced silver certificates in 1878, at a time when the meaning of money was up for grabs. In the late 1890s, the nation was in the early process of transforming from a rural agrarian society into an industrialized, urbanized empire teeming with immigrants. But growing pains brought an identity crisis; new peoples, cultures, technologies, and work habits challenged the status quo, exposing political, social, and class conflicts that came to a head in the 1896 presidential election.

The free silver movement-to allow for unfettered silver coinage alongside the gold standard-reflected these divides. Proponents, many of whom were Western farmers and miners, believed free silver would expand the money supply for the poor. But gold supporters-often situated in Eastern metropolises-saw free silver as an attack on the country's financial lifeblood, their own fortunes, and their class standing as sophisticated, urbane elites. The Secretary of the Treasury at the time, John G. Carlisle, supported gold, but recognized silver as and, with enthusiastic support from the Chief of the Bureau of Engraving, Claude M. Johnson, authorized a prestigious, artistic, series of silver certificates as a form of celebratory nationalism.

The Bureau of Engraving and Printing commissioned publicly acclaimed muralists William H. Low, Edwin Blashfield, and Walter Shirlaw, who had decorated government buildings and represented American art in international expos, to design the denominations. Low commented in 1893.

Low glorified a collective American past by portraying the Constitution as a civics lesson for the nation's children. In his $1 certificate, entitled History Instructing Youth, Low depicted the Washington, D.C., skyline behind personified as a goddess, who is pointing at the Constitution to enlighten a boy. The reverse features George and Martha Washington. It's a reflection of the time's child savers movement-whereby white, middle-class philanthropists assimilated immigrant and lower-class children into productive workers and good citizens.

The theme of youth and citizenship reflected the free silver position. Coin's Financial School, a popular booklet starring a young financier named Coin, differentiated democratic silver from aristocratic gold: In its pages, gold bugs like banker Lyman Gage, who detested silver and would succeed Carlisle as Secretary of the Treasury, were won over by Coin's persuasive messaging and by the youth who delivered it.

While the $1 certificate glorified the past, the $2 and $5 certificates highlighted technological and national progress. Edwin Blashfield's Science Presenting Steam and Electricity to Commerce and Manufacture was a paean to industrialization. and are children who join the adults, and Their proud fathers, inventors Robert Fulton (the steamboat) and Samuel Morse (the telegraph), preside from the reverse. The $5 certificate, Walter Shirlaw's celebrated Americanism's triumphs abroad. The figure of wields Thomas Edison's lightbulb to (en)lighten the world, and on the reverse, generals Ulysses Grant and Philip Sheridan watch the emergence of empire.

To read the complete article, see:
The U.S. Government's Failed Attempt to Forge Unity Through Currency(https://www.smithsonianmag.com/history/free-silver-movements-failed-attempt-forge-unity-through-currency-180977966/)