REPORT OF NATIONAL MUSEUM, 1918. 85 



by Henry Ulke; from Mrs. James Henry Moser, of Washington, a 

 landscape in oil, " Clearing Up " in the Berkshires, by James Henry 

 Moser; from Mrs. G. L. Hitchcock, of Washington, a collection of 

 Capo di Monte porcelains, bronzes, etc., 20 specimens; from Mr. Ed- 

 ward Trenchard, of Babylon, New York, an oil painting, " Sea, 

 Sand, and Solitude," by Edward Trenchard ; from Mrs. G. B. Willis, 

 Alexandria, Virginia, a water color, "The Spirit of the Sphinx," 

 by Henry Bacon, done in Egypt, 1897; a bust in Carrara marble, 

 being a copy by Luigi Guglielmi, of the head of the Antinous of 

 the Capitoline Museum, Rome ; and " Virginia Virgo," a bas relief 

 in Carrara marble, by Sir Moses Ezekiel, Rome, 1897; from Mrs. 

 Allen M. Sumner, Washington, District of Columbia, a representa- 

 tion in marble of the clasped hands of Dr. and Mrs. Allen M. Sum- 

 ner, by John A. Jackson, sculptor, Florence, Italy, 1869 ; from Lieut. 

 Commander W. W. Smyth, United States Navy, and Mrs. Smyth, 

 an antique marble urn with decorative carvings, formerly owned by 

 Stephen Girard; and from the Army Medical Museum, a painting 

 of the proposed new building for the Army Medical Museum and 

 Library, executed by members of the art department of that museum. 



The exhibition of a large collection of paintings by Mr. Ossip 

 Perelma continued over from the preceding year, and two other spe- 

 cial loan exhibitions were held during the year. A collection of 99 

 lithographs and 9 etchings by Joseph Pennell, illustrating war ac- 

 tivities and works in Great Britain and the United States was ex- 

 hibited in the Gallery from November 1 to 24, 1917; the opening was 

 inaugurated with a special view on the evening of the first. These 

 prints reproduce a large portion of the artist's sketches made under 

 Government auspices in the various factories, shipyards, and other 

 establishments in the two countries. The catalogue issued for the 

 occasion included an introduction and explanatory notes by Mr. 

 Pennell. 



During March, 1918, a series of architectural drawings by Charles 

 Mason Remey, being preliminary designs displaying varying treat- 

 ments in different styles of architecture of the proposed Bahai Tem- 

 ple to be built on the shore of Lake Michigan at Chicago, Illinois, 

 were shown on special screens in the southern alcoves of the Gallery. 



In making room for the Bureau of War Risk Insurance of the 

 Treasury Department, the collection of drawings by eminent con- 

 temporary French artists presented to the people of the United 

 States by the citizens of the French Republic, which had been on 

 exhibition on screens in the north alcove of the Gallery, was taken 

 down on June 10, 1918, and placed in storage. The rooms on the 

 lower floor utilized for the exhibition of art works were placed at 

 the disposal of the War Risk office in November, 1917, and, later 



