But he had not told the specialists much. Over his whole experience hung a pall of madness and nightmare, and he felt that silence was the only course. When he was up, he scanned intently all the papers which had accumulated since that hideous night, but found no reference to anything queer at the museum. How much, after all, had been reality? Where did reality end and morbid dream begin? Had his mind gone wholly to pieces in that dark exhibition chamber, and had the whole fight with Rogers been a phantasm of fever? It would help to put him on his feet if he could settle some of these maddening points. He must have seen that damnable photograph of the wax image called “It”, for no brain but Rogers’ could ever have conceived such a blasphemy.
It was a fortnight before he dared to enter Southwark Street again. He went in the middle of the morning, when there was the greatest amount of sane, wholesome activity around the ancient, crumbling shops and warehouses. The museum’s sign was still there, and as he approached he saw that the place was open. The gateman nodded in a pleasant recognition as he summoned up the courage to enter, and in the vaulted chamber below an attendant touched his cap cheerfully. Perhaps everything had been a dream. Would he dare to knock at the door of the workroom and look for Rogers?
Then Orabona advanced to greet him. His dark, sleek face was a trifle sardonic, but Jones felt that he was not unfriendly. He spoke with a trace of accent.
“Good morning, Mr. Jones. It is some time since we have seen you here. Did you wish Mr. Rogers? I’m sorry, but he is away. He had word of business in America, and had to go. Yes, it was very sudden. I am in charge now—here, and at the house. I try to maintain Mr. Rogers’ high standard—till he is back.”
The foreigner smiled—perhaps from affability alone. Jones scarcely knew how to reply, but managed to mumble out a few inquiries about the day after his last visit. Orabona seemed greatly amused by the questions, and took considerable care in framing his replies.
“Oh, yes, Mr. Jones—the twenty-eighth of last month. I remember it for many reasons. In the morning—before Mr. Rogers got here, you understand—I found the workroom in quite a mess. There was a great deal of—cleaning up—to do. There had been—late work, you see. Important new specimen given its secondary baking process. I took complete charge when I came.
“It was a hard specimen to prepare—but of course Mr. Rogers has taught me a great deal. He is, as you know, a very great artist. When he came he helped me complete the specimen—helped very materially, I assure you—but he left soon without even greeting the men. As I tell you, he was called away suddenly. There were important chemical reactions involved. They made loud noises—in fact, some teamsters in the court outside fancy they heard several pistol shots—very amusing idea!
“As for the new specimen—that matter is very unfortunate. It is a great masterpiece—designed and made, you understand, by Mr. Rogers. He will see about it when he gets back.”
Again Orabona smiled.
“The police, you know. We put it on display a week ago, and there were two or three faintings. One poor fellow had an epileptic fit in front of it. You see, it is a trifle—stronger—than the rest. Larger, for one thing. Of course, it was in the adult alcove. The next day a couple of men from Scotland Yard looked it over and said it was too morbid to be shewn. Said we’d have to remove it. It was a tremendous shame—such a masterpiece of art—but I didn’t feel justified in appealing to the courts in Mr. Rogers’ absence. He would not like so much publicity with the police now—but when he gets back—when he gets back—“
For some reason or other Jones felt a mounting tide of uneasiness and repulsion. But Orabona was continuing.
“You are a connoisseur, Mr. Jones. I am sure I violate no law in offering you a private view. It may be—subject, of course, to Mr. Rogers’ wishes—that we shall destroy the specimen some day—but that would be a crime.”
Jones had a powerful impulse to refuse the sight and flee precipitately, but Orabona was leading him forward by the arm with an artist’s enthusiasm. The adult alcove, crowded with nameless horrors, held no visitors. In the farther corner a large niche had been curtained off, and to this the smiling assistant advanced.
“You must know, Mr. Jones, that the title of this specimen is ‘The Sacrifice to Rhan-Tegoth’.”
Jones started violently, but Orabona appeared not to notice.
“The shapeless, colossal god is a feature in certain obscure legends which Mr. Rogers has studied. All nonsense, of course, as you’ve so often assured Mr. Rogers. It is supposed to have come from outer space, and to have lived in the Arctic three million years ago. It treated its sacrifices rather peculiarly and horribly, as you shall see. Mr. Rogers had made it fiendishly life-like—even to the face of the victim.”
Now trembling violently, Jones clung to the brass railing in front of the curtained niche. He almost reached out to stop Orabona when he saw the curtain beginning to swing aside, but some conflicting impulse held him back. The foreigner smiled triumphantly.
“Behold!”
Jones reeled in spite of his grip on the railing.
“God!—great God!”
Fully ten feet high despite a shambling, crouching attitude expressive of infinite cosmic malignancy, a monstrosity of unbelievable horror was shewn starting forward from a Cyclopean ivory throne covered with grotesque carvings. In the central pair of its six legs it bore a crushed, flattened, distorted, bloodless thing, riddled with a million punctures, and in places seared as with some pungent acid. Only the mangled head of the victim, lolling upside down at one side, revealed that it represented something once human.
The monster itself needed no title for one who had seen a certain hellish photograph. That damnable print had been all too faithful; yet it could not carry the full horror which lay in the gigantic actuality. The globular torso—the bubble-like suggestion of a head—the three fishy eyes—the foot-long proboscis—the bulging gills—the monstrous capillation of asp-like suckers—the six sinuous limbs with their black paws and crab-like claws—God! the familiarity of that black paw ending in a crab-like claw! . . .
Orabona’s smile was utterly damnable. Jones choked, and stared at the hideous exhibit with a mounting fascination which perplexed and disturbed him. What half-revealed horror was holding and forcing him to look longer and search out details? This had driven Rogers mad . . . Rogers, supreme artist . . . said they weren’t artificial. . . .
Then he localised the thing that held him. It was the crushed waxen victim’s lolling head, and something that it implied. This head was not entirely devoid of a face, and that face was familiar. It was like the mad face of poor Rogers. Jones peered closer, hardly knowing why he was driven to do so. Wasn’t it natural for a mad egotist to mould his own features into his masterpiece? Was there anything more that subconscious vision had seized on and suppressed in sheer terror?
The wax of the mangled face had been handled with boundless dexterity. Those punctures—how perfectly they reproduced the myriad wounds somehow inflicted on that poor dog! But there was something more. On the left cheek one could trace an irregularity which seemed outside the general scheme—as if the sculptor had sought to cover up a defect of his first modelling. The more Jones looked at it, the more mysteriously it horrified him—and then, suddenly, he remembered a circumstance which brought his horror to a head. That night of hideousness—the tussle—the bound madman—and the long, deep scratch down the left cheek of the actual living Rogers. . . .
Jones, releasing his desperate clutch on the railing, sank in a total faint.
Orabona continued to smile.
The Hound
In my tortured ears there sounds unceasingly a nightmare whirring and flapping, and a faint, distant baying as of some gigantic hound. It is not dream—it is not, I fear, even madness—for too much has already happened to give me these merciful doubts. St. John is a mangled corpse; I alone know why, and such is my knowledge that I am about to blow out my brains for fear I shall be mangled in the same
way. Down unlit and illimitable corridors of eldritch phantasy sweeps the black, shapeless Nemesis that drives me to self-annihilation.
May heaven forgive the folly and morbidity which led us both to so monstrous a fate! Wearied with the commonplaces of a prosaic world, where even the joys of romance and adventure soon grow stale, St. John and I had followed enthusiastically every aesthetic and intellectual movement which promised respite from our devastating ennui. The enigmas of the Symbolists and the ecstasies of the pre-Raphaelites all were ours in their time, but each new mood was drained too soon of its diverting novelty and appeal. Only the sombre philosophy of the Decadents could hold us, and this we found potent only by increasing gradually the depth and diabolism of our penetrations. Baudelaire and Huysmans were soon exhausted of thrills, till finally there remained for us only the more direct stimuli of unnatural personal experiences and adventures. It was this frightful emotional need which led us eventually to that detestable course which even in my present fear I mention with shame and timidity—that hideous extremity of human outrage, the abhorred practice of grave-robbing.
I cannot reveal the details of our shocking expeditions, or catalogue even partly the worst of the trophies adorning the nameless museum we prepared in the great stone house where we jointly dwelt, alone and servantless. Our museum was a blasphemous, unthinkable place, where with the satanic taste of neurotic virtuosi we had assembled an universe of terror and decay to excite our jaded sensibilities. It was a secret room, far, far underground; where huge winged daemons carven of basalt and onyx vomited from wide grinning mouths weird green and orange light, and hidden pneumatic pipes ruffled into kaleidoscopic dances of death the lines of red charnel things hand in hand woven in voluminous black hangings. Through these pipes came at will the odours our moods most craved; sometimes the scent of pale funeral lilies, sometimes the narcotic incense of imagined Eastern shrines of the kingly dead, and sometimes—how I shudder to recall it!—the frightful, soul-upheaving stenches of the uncovered grave.
Around the walls of this repellent chamber were cases of antique mummies alternating with comely, life-like bodies perfectly stuffed and cured by the taxidermist’s art, and with headstones snatched from the oldest churchyards of the world. Niches here and there contained skulls of all shapes, and heads preserved in various stages of dissolution. There one might find the rotting, bald pates of famous noblemen, and the fresh and radiantly golden heads of new-buried children. Statues and paintings there were, all of fiendish subjects and some executed by St. John and myself. A locked portfolio, bound in tanned human skin, held certain unknown and unnamable drawings which it was rumoured Goya had perpetrated but dared not acknowledge. There were nauseous musical instruments, stringed, brass, and wood-wind, on which St. John and I sometimes produced dissonances of exquisite morbidity and cacodaemoniacal ghastliness; whilst in a multitude of inlaid ebony cabinets reposed the most incredible and unimaginable variety of tomb-loot ever assembled by human madness and perversity. It is of this loot in particular that I must not speak—thank God I had the courage to destroy it long before I thought of destroying myself.
The predatory excursions on which we collected our unmentionable treasures were always artistically memorable events. We were no vulgar ghouls, but worked only under certain conditions of mood, landscape, environment, weather, season, and moonlight. These pastimes were to us the most exquisite form of aesthetic expression, and we gave their details a fastidious technical care. An inappropriate hour, a jarring lighting effect, or a clumsy manipulation of the damp sod, would almost totally destroy for us that ecstatic titillation which followed the exhumation of some ominous, grinning secret of the earth. Our quest for novel scenes and piquant conditions was feverish and insatiate—St. John was always the leader, and he it was who led the way at last to that mocking, that accursed spot which brought us our hideous and inevitable doom.
By what malign fatality were we lured to that terrible Holland churchyard? I think it was the dark rumour and legendry, the tales of one buried for five centuries, who had himself been a ghoul in his time and had stolen a potent thing from a mighty sepulchre. I can recall the scene in these final moments—the pale autumnal moon over the graves, casting long horrible shadows; the grotesque trees, drooping sullenly to meet the neglected grass and the crumbling slabs; the vast legions of strangely colossal bats that flew against the moon; the antique ivied church pointing a huge spectral finger at the livid sky; the phosphorescent insects that danced like death-fires under the yews in a distant corner; the odours of mould, vegetation, and less explicable things that mingled feebly with the night-wind from over far swamps and seas; and worst of all, the faint deep-toned baying of some gigantic hound which we could neither see nor definitely place. As we heard this suggestion of baying we shuddered, remembering the tales of the peasantry; for he whom we sought had centuries before been found in this selfsame spot, torn and mangled by the claws and teeth of some unspeakable beast.
I remembered how we delved in this ghoul’s grave with our spades, and how we thrilled at the picture of ourselves, the grave, the pale watching moon, the horrible shadows, the grotesque trees, the titanic bats, the antique church, the dancing death-fires, the sickening odours, the gently moaning night-wind, and the strange, half-heard, directionless baying, of whose objective existence we could scarcely be sure. Then we struck a substance harder than the damp mould, and beheld a rotting oblong box crusted with mineral deposits from the long undisturbed ground. It was incredibly tough and thick, but so old that we finally pried it open and feasted our eyes on what it held.
Much—amazingly much—was left of the object despite the lapse of five hundred years. The skeleton, though crushed in places by the jaws of the thing that had killed it, held together with surprising firmness, and we gloated over the clean white skull and its long, firm teeth and its eyeless sockets that once had glowed with a charnel fever like our own. In the coffin lay an amulet of curious and exotic design, which had apparently been worn around the sleeper’s neck. It was the oddly conventionalised figure of a crouching winged hound, or sphinx with a semi-canine face, and was exquisitely carved in antique Oriental fashion from a small piece of green jade. The expression on its features was repellent in the extreme, savouring at once of death, bestiality, and malevolence. Around the base was an inscription in characters which neither St. John nor I could identify; and on the bottom, like a maker’s seal, was graven a grotesque and formidable skull.
Immediately upon beholding this amulet we knew that we must possess it; that this treasure alone was our logical pelf from the centuried grave. Even had its outlines been unfamiliar we would have desired it, but as we looked more closely we saw that it was not wholly unfamiliar. Alien it indeed was to all art and literature which sane and balanced readers know, but we recognised it as the thing hinted of in the forbidden Necronomicon of the mad Arab Abdul Alhazred; the ghastly soul-symbol of the corpse-eating cult of inaccessible Leng, in Central Asia. All too well did we trace the sinister lineaments described by the old Arab daemonologist; lineaments, he wrote, drawn from some obscure supernatural manifestation of the souls of those who vexed and gnawed at the dead.
Seizing the green jade object, we gave a last glance at the bleached and cavern-eyed face of its owner and closed up the grave as we found it. As we hastened from that abhorrent spot, the stolen amulet in St. John’s pocket, we thought we saw the bats descend in a body to the earth we had so lately rifled, as if seeking for some cursed and unholy nourishment. But the autumn moon shone weak and pale, and we could not be sure. So, too, as we sailed the next day away from Holland to our home, we thought we heard the faint distant baying of some gigantic hound in the background. But the autumn wind moaned sad and wan, and we could not be sure.
II.
Less than a week after our return to England, strange things began to happen. We lived as recluses; devoid of friends, alone, and without servants in a few rooms of an ancient manor-house on a bleak and unfreque
nted moor; so that our doors were seldom disturbed by the knock of the visitor. Now, however, we were troubled by what seemed to be frequent fumblings in the night, not only around the doors but around the windows also, upper as well as lower. Once we fancied that a large, opaque body darkened the library window when the moon was shining against it, and another time we thought we heard a whirring or flapping sound not far off. On each occasion investigation revealed nothing, and we began to ascribe the occurrences to imagination alone—that same curiously disturbed imagination which still prolonged in our ears the faint far baying we thought we had heard in the Holland churchyard. The jade amulet now reposed in a niche in our museum, and sometimes we burned strangely scented candles before it. We read much in Alhazred’s Necronomicon about its properties, and about the relation of ghouls’ souls to the objects it symbolised; and were disturbed by what we read. Then terror came.
On the night of September 24, 19––, I heard a knock at my chamber door. Fancying it St. John’s, I bade the knocker enter, but was answered only by a shrill laugh. There was no one in the corridor. When I aroused St. John from his sleep, he professed entire ignorance of the event, and became as worried as I. It was that night that the faint, distant baying over the moor became to us a certain and dreaded reality. Four days later, whilst we were both in the hidden museum, there came a low, cautious scratching at the single door which led to the secret library staircase. Our alarm was now divided, for besides our fear of the unknown, we had always entertained a dread that our grisly collection might be discovered. Extinguishing all lights, we proceeded to the door and threw it suddenly open; whereupon we felt an unaccountable rush of air, and heard as if receding far away a queer combination of rustling, tittering, and articulate chatter. Whether we were mad, dreaming, or in our senses, we did not try to determine. We only realised, with the blackest of apprehensions, that the apparently disembodied chatter was beyond a doubt in the Dutch language.
The Complete H.P. Lovecraft Collection (Xist Classics) Page 98
