54 ANNUAL REPORT SMITHSONIAN INSTITUTION, 1926 
The collection, numbering 255 examples of the art of early Ameri- 
can silversmiths, was generally regarded as one of the most interest- 
ing and valuable ever brought together. The catalogue was intro- 
duced by a four-page story of the development of the art by Miss 
Elizabeth B. Benton. 
The Dykaar exhibition —An exhibition of portrait busts in marble 
and bronze, with certain other pieces, by Moses Wainer Dykaar was 
installed in the middle room of the gallery March 5 to March 20. 
The exhibit made a very favorable impression and included the fol- 
lowing subjects. 
Calvin Coolidge. Carolyn Harding Votaw 
Mrs. Calvin Coolidge. Dr. Charles D. Walcott 
Warren Gamaliel Harding. Rabbi Stephen 8. Wise 
Dr. Alexander Graham Bell. A Young Teacher. 
Abraham Cahan. The Modern Woman. 
Eugene V. Debs. Nude Girl: Primavera 
Samuel Gompers. Once Upon a Time. 
Hudson Maxim. Satyriec Mask. 
Gen. George Owen Squier. An American Student. 
Justice Wendell P. Stafford. W. H. Holmes. 
A bust in marble of Abraham Cahan, well-known author and 
editor, and one of W. H. Holmes, director of the gallery, were pre- 
sented to the Smithsonian Institution by the sculptor. 
The Italian exhibit of paintings, sculpture, etc.—The third exhibit 
of the season was an important assemblage of modern Italian art, 
collected and exhibited under the patronage of His Majesty the 
King of Italy. It was assembled on the invitation of the Italy- 
America Society of New York City by the Italian Minister of Public 
instruction, the works being chosen largely under the personal super- 
vision of Arduino Colasanti, director general of fine arts, Italy. 
The collection, installed under the competent direction of Dr. Lauro 
de Bosis, occupied the entire central series of rooms and connecting 
spaces in the gallery, with a running wall space of 430 feet. This 
display attracted more than ordinary attention. The excellent cata- 
logue was prepared by the Italy-America Society and comprises 24 
pages of text and 34 plates representing selections from the 290 
items of the exhibit. The exhibit was opened to the public on the 
afternoon of March 25, with a reception given by the Secretary and 
Regents of the Smithsonian Institution, and was closed on April 24, 
1926. An especially noteworthy feature of the catalogue is the four- 
page “ Foreword” by Christian Brinton. His admirable character- 
ization of the exhibit follows: 
The aim of the present exhibition is to offer a balanced and comprehensive 
picture of current Italian artistic activity. The picture opens with the work 
of the great protagonists, Boldini, Mancini, and Medardo Rosso, and closes 
with a courageous presentation of Futurist painting and decorative art. Every 
