Lynd Ward's illustrations here are not the woodcuts which he masters so powerfully. Though these, in color, communicate the solitary, brooding, isolated, moody character of the Illinois rail-splitter, they are oppresively somber. They never achieve the impact of his recent Edge of April black and whites. Too, there is almost a monotony to the successive pictures. The familiar legends are all here, traversing the span from cabin to White House, touching on the Ann Rutledge legend, his family life with Mary, Todd, though the Civil War to the shot at Ford's Theatre. There is no particular charm or grace to the telling.