We followed the wall back, past the holy relics of Lincoln’s early rise in politics, a replica of his law offices where the waxen images of two boys were running wild upon the tables, placing baseball with a broom and inkwells while Lincoln obliviously studied in one side amidst piles of legal documents.
There were tokens of an age before he was President in wall niches, and we nearly backtracked through the log cabin, when Trixie spied a hidden passage that took us out, past a wall of TV monitors intended to entertain the weak and feeble-minded with a reinterpretation of the debate over slavery using the modern medium of television attack ads. This was enough to make your skin crawl, if only because of the glazed over look in the eyes of the captivated audience in the booth.
We went on to the White House section, covering Lincoln’s presidency years, welcomed by Mary Todd Lincoln’s effigy, being dressed for her debut on the town by their Black seamstress, and surrounded by an honor guard of reproductions of dresses she had worn, made of modern materials and fading floral garnishes.
The trail to the left took us into the evilly angled rooms with charicatures of Lincoln, and the rumble of actor’s voices recreating the disheartening things said about him before his martyrdom.
This passed on to Little Willie’s deathbed scene, a lavishly garish recreation in the darkened room where Lincoln was entering, and the Mrs. was there next to a very large bed with a very little boy in it, the sound of a clock slowly, ponderously ticking the minutes away.
The next turn had Mary Todd Lincoln in her mourning clothes, and after that, she conveniently dropped from the overall picture like an afterthought.