From about 1795 onward, the legends of the incoming pioneers and later population have much to say about strange cries and chants proceeding at certain seasons from Chorazin and from the great house and hill of standing stones; though there is reason to suppose that the noises ceased about 1872, when the entire van der Heyl household — servants and all — suddenly and simultaneously disappeared.
Thenceforward the house was deserted; for other disastrous events — including three unexplained deaths, five disappearances, and four cases of sudden insanity — occurred when later owners and interested visitors attempted to stay in it. The house, village, and extensive rural areas on all sides reverted to the state and were auctioned off in the absence of discoverable van der Heyl heirs. Since about 1890 the owners (successively the late Charles A. Shields and his son Oscar S. Shields, of Buffalo) have left the entire property in a state of absolute neglect, and have warned all inquirers not to visit the region.
Of those known to have approached the house during the last forty years, most were occult students, police officers, newspaper men, and odd characters from abroad. Among the latter was a mysterious Eurasian, probably from Cochin-China, whose later appearance with blank mind and bizarre mutilations excited wide press notice in 1903.
Mr. Typer’s diary — a book about 6 × 3½ inches in size, with tough paper and an oddly durable binding of thin sheet metal — was discovered in the possession of one of the decadent Chorazin villagers on Nov. 16, 1935, by a state policeman sent to investigate the rumoured collapse of the deserted van der Heyl mansion. The house had indeed fallen, obviously from sheer age and decrepitude, in the severe gale of Nov. 12. Disintegration was peculiarly complete, and no thorough search of the ruins could be made for several weeks. John Eagle, the swarthy, simian-faced, Indian-like villager who had the diary, said that he found the book quite near the surface of the debris, in what must have been an upper front room.
Very little of the contents of the house could be identified, though an enormous and astonishingly solid brick vault in the cellar (whose ancient iron door had to be blasted open because of the strangely figured and perversely tenacious lock) remained intact and presented several puzzling features. For one thing, the walls were covered with still undeciphered hieroglyphs roughly incised in the brickwork. Another peculiarity was a huge circular aperture in the rear of the vault, blocked by a cave-in evidently caused by the collapse of the house.
But strangest of all was the apparently recent deposit of some foetid, slimy, pitch-black substance on the flagstoned floor, extending in a yard-broad, irregular line with one end at the blocked circular aperture. Those who first opened the vault declared that the place smelled like the snake-house at a zoo.
The diary, which was apparently designed solely to cover an investigation of the dreaded van der Heyl house by the vanished Mr. Typer, has been proved by handwriting experts to be genuine. The script shews signs of increasing nervous strain as it progresses toward the end, in places becoming almost illegible. Chorazin villagers — whose stupidity and taciturnity baffle all students of the region and its secrets — admit no recollection of Mr. Typer as distinguished from other rash visitors to the dreaded house.
The text of the diary is here given verbatim and without comment. How to interpret it, and what, other than the writer’s madness, to infer from it, the reader must decide for himself. Only the future can tell what its value may be in solving a generation-old mystery. It may be remarked that genealogists confirm Mr. Typer’s belated memory in the matter of Adriaen Sleght.
THE DIARY
April 17, 1908
Arrived here about 6 p.m. Had to walk all the way from Attica in the teeth of an oncoming storm, for no one would rent me a horse or rig, and I can’t run an automobile. This place is even worse than I had expected, and I dread what is coming, even though I long at the same time to learn the secret. All too soon will come the night — the old Walpurgis Sabbat horror — and after that time in Wales I know what to look for. Whatever comes, I shall not flinch. Prodded by some unfathomable urge, I have given my whole life to the quest of unholy mysteries. I came here for nothing else, and will not quarrel with fate.
It was very dark when I got here, though the sun had by no means set. The storm-clouds were the densest I had ever seen, and I could not have found my way but for the lightning flashes. The village is a hateful little backwater, and its few inhabitants no better than idiots. One of them saluted me in a queer way, as if he knew me. I could see very little of the landscape — just a small, swampy valley of strange brown weed-stalks and dead fungi surrounded by scraggly, evilly twisted trees with bare boughs. But behind the village is a dismal-looking hill on whose summit is a circle of great stones with another stone at the centre. That, without question, is the vile primordial thing V —— — told me about at the N —— — estbat.
The great house lies in the midst of a park all overgrown with curious-looking briers. I could scarcely break through, and when I did the vast age and decrepitude of the building almost stopped me from entering. The place looked filthy and diseased, and I wondered how so leprous a bulk could hang together. It is wooden; and though its original lines are hidden by a bewildering tangle of wings added at various dates, I think it was first built in the square colonial fashion of New England. Probably that was easier to build than a Dutch stone house — and then, too, I recall that Dirck van der Heyl’s wife was from Salem, a daughter of the unmentionable Abaddon Corey. There was a small pillared porch, and I got under it just as the storm burst. It was a fiendish tempest — black as midnight, with rain in sheets, thunder and lightning like the day of general dissolution, and a wind that actually clawed at me. The door was unlocked, so I took out my electric torch and went inside. Dust was inches thick on floor and furniture, and the place smelled like a mould-caked tomb. There was a hall reaching all the way through, and a curving staircase on the right. I ploughed a way upstairs and selected this front room to camp out in. The whole place seems fully furnished, though most of the furniture is breaking down. This is written at eight o’clock, after a cold meal from my travelling-case. After this the village people will bring me supplies — though they won’t agree to come any closer than the ruins of the park gate until (as they say) later. I wish I could get rid of an unpleasant feeling of familiarity with this place.
Later
I am conscious of several presences in this house. One in particular is decidedly hostile toward me — a malevolent will which is seeking to break down my own and overcome me. I must not countenance this for an instant, but must use all my forces to resist it. It is appallingly evil, and definitely non-human. I think it must be allied to powers outside earth — powers in the spaces behind time and beyond the universe. It towers like a colossus, bearing out what is said in the Aklo writings. There is such a feeling of vast size connected with it that I wonder these chambers can contain its bulk — and yet it has no visible bulk. Its age must be unutterably vast — shockingly, indescribably so.
April 18
Slept very little last night. At 3 a.m. a strange, creeping wind began to pervade the whole region — ever rising until the house rocked as if in a typhoon. As I went down the staircase to see to the rattling front door the darkness took half-visible forms in my imagination. Just below the landing I was pushed violently from behind — by the wind, I suppose, though I could have sworn I saw the dissolving outlines of a gigantic black paw as I turned quickly about. I did not lose my footing, but safely finished the descent and shot the heavy bolt of the dangerously shaking door.
I had not meant to explore the house till dawn; yet now, unable to sleep again and fired with mixed terror and curiosity, I felt reluctant to postpone my search. With my powerful torch I ploughed through the dust to the great south parlour, where I knew the portraits would be. There they were, just as V —— — had said, and as I seemed to know from some obscurer source as well. Some were so blackened, mouldy, and dust-clouded that I could make little or
nothing of them, but from those I could trace I recognised that they were indeed of the hateful line of the van der Heyls. Some of the paintings seemed to suggest faces I had known; but just what faces, I could not recall.
The outlines of that frightful hybrid Joris — spawned in 1773 by old Dirck’s youngest daughter — were clearest of all, and I could trace the green eyes and the serpent look in his face. Every time I shut off the flashlight that face would seem to glow in the dark until I half fancied it shone with a faint, greenish light of its own. The more I looked, the more evil it seemed, and I turned away to avoid hallucinations of changing expression.
But that to which I turned was even worse. The long, dour face, small, closely set eyes, and swine-like features identified it at once, even though the artist had striven to make the snout look as human as possible. This was what V —— — had whispered about. As I stared in horror, I thought the eyes took on a reddish glow — and for a moment the background seemed replaced by an alien and seemingly irrelevant scene — a lone, bleak moor beneath a dirty yellow sky, whereon grew a wretched-looking blackthorn bush. Fearing for my sanity, I rushed from that accursed gallery to the dust-cleared corner upstairs where I have my “camp”.
Later
Decided to explore some of the labyrinthine wings of the house by daylight. I cannot get lost, for my footprints are distinct in the ankle-deep dust — and I can trace other identifying marks when necessary. It is curious how easily I learn the intricate windings of the corridors. Followed a long, outflung northerly “ell” to its extremity, and came to a locked door, which I forced. Beyond was a very small room quite crowded with furniture, and with the panelling badly worm-eaten. On the outer wall I spied a black space behind the rotting woodwork, and discovered a narrow secret passage leading downward to unknown black depths. It was a steeply inclined chute or tunnel without steps or hand-holds, and I wondered what its use could have been.
Above the fireplace was a mouldy painting, which I found on close inspection to be that of a young woman in the dress of the late eighteenth century. The face is of classic beauty, yet with the most fiendishly evil expression which I have ever known the human countenance to bear. Not merely callousness, greed, and cruelty, but some quality hideous beyond human comprehension seems to sit upon those finely carved features. And as I looked it seemed to me that the artist — or the slow processes of mould and decay — had imparted to that pallid complexion a sickly greenish cast, and the least suggestion of an almost imperceptibly scaly texture. Later I ascended to the attic, where I found several chests of strange books — many of utterly alien aspect in letters and in physical form alike. One contained variants of the Aklo formulae which I had never known to exist. I have not yet examined the books on the dusty shelves downstairs.
April 19
There are certainly unseen presences here, even though the dust as yet bears no footprints but my own. Cut a path through the briers yesterday to the park gate where my supplies are left, but this morning I found it closed. Very odd, since the bushes are hardly stirring with spring sap. Again I had that feeling of something at hand so colossal that the chambers can scarcely contain it. This time I feel more than one of the presences is of such a size, and I know now that the third Aklo ritual — which I found in that book in the attic yesterday — would make such beings solid and visible. Whether I shall dare to try this materialisation remains to be seen. The perils are great.
Last night I began to glimpse evanescent shadow-faces and forms in the dim corners of the halls and chambers — faces and forms so hideous and loathsome that I dare not describe them. They seem allied in substance to that titanic paw which tried to push me down the stairs night before last — and must of course be phantoms of my disturbed imagination. What I am seeking would not be quite like these things. I have seen the paw again — sometimes alone and sometimes with its mate — but I have resolved to ignore all such phenomena.
Early this afternoon I explored the cellar for the first time — descending by a ladder found in a storeroom, since the wooden steps had rotted away. The whole place is a mass of nitrous encrustations, with amorphous mounds marking the spots where various objects have disintegrated. At the farther end is a narrow passage which seems to extend under the northerly “ell” where I found the little locked room, and at the end of this is a heavy brick wall with a locked iron door. Apparently belonging to a vault of some sort, this wall and door bear evidences of eighteenth-century workmanship and must be contemporary with the oldest additions to the house — clearly pre-Revolutionary. On the lock — which is obviously older than the rest of the ironwork — are engraved certain symbols which I cannot decipher.
V —— — had not told me about this vault. It fills me with a greater disquiet than anything else I have seen, for every time I approach it I have an almost irresistible impulse to listen for something. Hitherto no untoward sounds have marked my stay in this malign place. As I left the cellar I wished devoutly that the steps were still there — for my progress up the ladder seemed maddeningly slow. I do not want to go down there again — and yet some evil genius urges me to try it at night if I would learn what is to be learned.
April 20
I have sounded the depths of horror — only to be made aware of still lower depths. Last night the temptation was too strong, and in the black small hours I descended once more into that nitrous, hellish cellar with my flashlight — tiptoeing among the amorphous heaps to that terrible brick wall and locked door. I made no sound, and refrained from whispering any of the incantations I knew, but I listened — listened with mad intentness.
At last I heard the sounds from beyond those barred plates of sheet iron — the menacing padding and muttering, as of gigantic night-things within. Then, too, there was a damnable slithering, as of a vast serpent or sea-beast dragging its monstrous folds over a paved floor. Nearly paralysed with fright, I glanced at the huge rusty lock, and at the alien, cryptic hieroglyphs graven upon it. They were signs I could not recognise, and something in their vaguely Mongoloid technique hinted at a blasphemous and indescribable antiquity. At times I fancied I could see them glowing with a greenish light.
I turned to flee, but found that vision of the titan paws before me — the great talons seeming to swell and become more tangible as I gazed. Out of the cellar’s evil blackness they stretched, with shadowy hints of scaly wrists beyond them, and with a waxing, malignant will guiding their horrible gropings. Then I heard from behind me — within that abominable vault — a fresh burst of muffled reverberations which seemed to echo from far horizons like distant thunder. Impelled by this greater fear, I advanced toward the shadowy paws with my flashlight and saw them vanish before the full force of the electric beam. Then up the ladder I raced, torch between my teeth, nor did I rest till I had regained my upstairs “camp”.
What is to be my ultimate end, I dare not imagine. I came as a seeker, but now I know that something is seeking me. I could not leave if I wished. This morning I tried to go to the gate for my supplies, but found the briers twisted tightly in my path. It was the same in every direction — behind and on all sides of the house. In places the brown, barbed vines had uncurled to astonishing heights — forming a steel-like hedge against my egress. The villagers are connected with all this. When I went indoors I found my supplies in the great front hall, though without any clue to how they came there. I am sorry now that I swept the dust away. I shall scatter some more and see what prints are left.
This afternoon I read some of the books in the great shadowy library at the rear of the ground floor, and formed certain suspicions which I cannot bear to mention. I had never seen the text of Pnakotic Manuscripts or of the Eltdown Shards before, and would not have come here had I known what they contain. I believe it is too late now — for the awful Sabbat is only ten days away. It is for that night of horror that they are saving me.
April 21
I have been studying the portraits again. Some have names attached, and I notice
d one — of an evil-faced woman, painted some two centuries ago — which puzzled me. It bore the name of Trintje van der Heyl Sleght, and I have a distinct impression that I once met the name of Sleght before, in some significant connexion. It was not horrible then, though it becomes so now. I must rack my brain for the clue.
The eyes of these pictures haunt me. Is it possible that some of them are emerging more distinctly from their shrouds of dust and decay and mould? The serpent-faced and swine-faced warlocks stare horribly at me from their blackened frames, and a score of other hybrid faces are beginning to peer out of shadowy backgrounds. There is a hideous look of family resemblance in them all — and that which is human is more horrible than that which is non-human. I wish they reminded me less of other faces — faces I have known in the past. They were an accursed line, and Cornelis of Leyden was the worst of them. It was he who broke down the barrier after his father had found that other key. I am sure that V —— — knows only a fragment of the horrible truth, so that I am indeed unprepared and defenceless. What of the line before old Claes? What he did in 1591 could never have been done without generations of evil heritage, or some link with the outside. And what of the branches this monstrous line has sent forth? Are they scattered over the world, all awaiting their common heritage of horror? I must recall the place where I once so particularly noticed the name of Sleght.
I wish I could be sure that these pictures stay always in their frames. For several hours now I have been seeing momentary presences like the earlier paws and shadow-faces and forms, but closely duplicating some of the ancient portraits. Somehow I can never glimpse a presence and the portrait it resembles at the same time — the light is always wrong for one or the other, or else the presence and the portrait are in different rooms.
Delphi Complete Works of H. P. Lovecraft (Illustrated) Page 198
