The Arcadian, New York, December 15, 1876, in speaking of this picture, says:  “Mr. Evarts is addressing the court, and the large number of people present are naturally and easily grouped.  There is no stiffness nor awkwardness in the positions, nothing forced in the whole work.  There are, in the crowd, ladies in bright colors to relieve the sombreness of the black-coated men, and the effect of the whole picture is pleasing and artistic, aside from its great value as an historical work.”

The Washington Capital, March 17, 1878:  “Mrs. Fassett’s ’Electoral Commission’ gives evidence of great merit, and this illustration in oil of an historical event in the presidential annals of the country, by the preservation of the likenesses in groups of some of the principal actors, and a few leading correspondents of the press, will be valuable.  This picture we safely predict will be a landmark in the history of the nation that will never be erased.  It memorizes a most remarkable crisis in our life, and perpetuates, both by reason of its intrinsic value as a chapter of history and its intrinsic worth as an art production, the incident it represents and the name of the artist.”

In the Washington Star, October, 1903, an article appeared from which I quote as follows:  “On the walls of the beautiful tessellated corridor of the eastern gallery floor of the Senate wing of the Capitol at Washington, just opposite the door of the caucus room of the Senate Democrats, hangs a large oil painting that never fails to attract the keenest curiosity of sightseers and legislators alike.  And for good reason:  that painting depicts in glowing colors a scene of momentous import, a chapter of American political history of graver consequence and more far-reaching results than any other since the Civil War.  The printed legend on the frame of the picture reads: 

“’The Florida case before the electoral commission, February 5, 1877.  Painted from life sittings in the United States Supreme Court room by Cornelia Adele Fassett.’”

“The painting belongs to Congress, having been purchased from the artist for $15,000.  As you face the picture the portraits of two hundred and fifty-eight men and women, who, twenty-six years ago, were part and parcel of the legislative, executive, judicial, social, and journalistic life of Washington, look straight at you as if they were still living and breathing things, as, indeed, many of them are.  As a work of art the picture is unique, for each face is so turned that the features can easily be studied, and the likenesses of nearly all are so faithful as to be a source of constant wonder and delight.”—­David S. Barry, in Pearson’s Magazine.

FAUVEAU, FELICIE DE. Second-class medal at Florence in 1827, when she made her debut by exhibiting a statue, “The Abbot,” and a group, “Queen Christine and Monaldeschi.”  Born in Florence, of French parents, about 1802.  For political reasons she was forced to leave Florence about 1834, when she went to Belgium, but later returned to her native city.