Springfield, December 21, 1928

For some time past, I have intended writing you, but each day has brought its own separate calls, causing a delay, which has been unintentional. I am coughing so badly that I can scarcely write. Sorry to learn of your circumstances. Your life will get better once the university is in your past. But, I must push forward and introduce you to the plot's co-conspirator. (19)

I have been impressed with the harrowing thought that Bloom had an understanding with the co-conspirator and he knew his man. This deceitful individual is Edward Milch, owner of New York's Milch Galleries, which he founded in 1912. In the early years, a large part of his business consisted of framing, cleaning, and restoration services, although he quickly saw that the real money was in the sale of American paintings. We all know, the love of money is the root of all evil. (20)

Several days ago, Bloom brought a painting to the attention of his co-conspirator and together they have unleashed a most deceitful plot. The painting in question is a portrait of myself and carries the signature and date, "F. B. Carpenter 1864." I enclose herewith an image of the painting. You may wonder why Bloom is forever the principal conspirator. The answer is simple--Bloom needed Milch, but, Milch didn't need Bloom. I fear between ourselves we have reason to distrust these men. (21)

These men were cold and unsympathizing strangers who never dreamed of my anguish. God is just and the day of retribution will come to all such, if not in your world, in the great hereafter, to which those hoary-headed sinners are so rapidly hastening, with an innocent conscience. (22)

I have determined to shed no more tears over all their cruel falsehoods, yet, just now, I feel almost forsaken by God and man,--except by the latter to be vilified. The serpents that have crossed our pathways, will be remembered by both of us with horror. We cannot mistake the trysting hour is near. (23)

M.L.

Editors' Note:

We found an image of Edward Milch and positioned it above. The below image appears to be the mentioned painting and was included within the saved portfolio.

Francis B. Carpenter "Mary Lincoln" 1864
Milch Galleries
New York, New York

12/3/72

Chicago, Illinois

Dear Mrs. Lincoln,

You were right, my life has improved. I finished my graduate work and now I find myself at the Art Institute of Chicago. I'm just a volunteer apprentice in the Conservation Department, but it is an incredible environment. My boss told me I would need ten years of training. I said I wasn't doing anything for the next ten years and that would be fine.

You have now offered the names of your conspirators, but I fail to see the link between these two individuals. Many see plotters and conspirators everywhere, but I'm not sure it's a healthy outlook. I'm going to have to ask you for more information. What is the nexus that joins these individuals? I'm happy to help you, but I still don't understand how this involves me. Thank you for sending the elegant portrait image of yourself.

Sincerely,

Barry Bauman

 Page 6

Notes:

19. For some time...unintentional. Turner. p. 61. Letter to Hannah Shearer. 1/1/1860. I am coughing...write. Turner. p. 577. Letter to Mary Harlan Lincoln. 9/10/1870.

20. I have been...man. Turner. p. 345. Letter to Sally Orne. 3/15/1866. The love of money is the root of all evil. Baker. p. 304.

21. I fear...men. Turner. p. 455. Letter to Elizabeth Keckley. 11/17/1867.

22. These men were...anguish. Baker. p. 303. God is just...conscience. Turner. p. 453. Letter to Elizabeth Keckley. 11/15/1867.

23. I have determined...vilified. Turner. p. 443. Letter to Elizabeth Keckley. 10/13/1867. The serpents...horror. Turner. p. 200. Letter to Abram Wakeman. 1/30/1865. We cannot mistake the trysting hour. Turner. p. 22. Letter to Mercy Ann Levering. 12/15/1840.