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 noticed 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.
Perhaps, as I have hoped, the presences are mere figments of imagination; but I cannot be sure now. Some are female, and of the same hellish beauty as the picture in the little locked room. Some are like no portrait I have seen, yet make me feel that their painted features lurk unrecognised beneath the mould and soot of canvases I cannot decipher. A few, I desperately fear, have approached materialisation in solid or semi-solid form—and some have a dreadful and unexplained familiarity.
There is one woman who in fell loveliness excels all the rest. Her poisonous charms are like a honeyed flower growing on the brink of hell. When I look at her closely she vanishes, only to reappear later. Her face has a greenish cast, and now and then I fancy I can spy a suspicion of the squamose in its smooth texture. Who is she? Is she that being who must have dwelt in the little locked room a century and more ago?
My supplies were again left in the front hall—that, clearly, is to be the custom. I had sprinkled dust about to catch footprints, but this morning the whole hall was swept clean by some unknown agency.
April 22
This has been a day of horrible discovery. I explored the cob-webbed attic again, and found a carved, crumbling chest—plainly from Holland—full of blasphemous books and papers far older than any hitherto encountered here. There was a Greek Necronomicon, a Norman-French Livre d’Eibon, and a first edition of old Ludvig Prinn’s De Vermis Mysteriis. But the old bound manuscript was the worst. It was in low Latin, and full of the strange, crabbed handwriting of Claes van der Heyl—being evidently the diary or notebook kept by him between 1560 and 1580. When I unfastened the blackened silver clasp and opened the yellowed leaves a coloured drawing fluttered out—the likeness of a monstrous creature resembling nothing so much as a squid, beaked and tentacled, with great yellow eyes, and with certain abominable approximations to the human form in its contours.
I had never before seen so utterly loathsome and nightmarish a form. On the paws, feet, and head-tentacles were curious claws— reminding me of the colossal shadow-shapes which have groped so horribly in my path—while the entity as a whole sat upon a great throne-like pedestal inscribed with unknown hieroglyphs of vaguely Chinese cast. About both writing and image there hung an air of sinister evil so profound and pervasive that I could not think it the product of any one world or age. Rather must that monstrous shape be a focus for all the evil in unbounded space, throughout the aeons past and to come—and those eldritch symbols be vile sentient eikons endowed with a morbid life of their own and ready to wrest themselves from the parchment for the reader’s destruction. To the meaning of that monster and of those hieroglyphs I had no clue, but I knew that both had been traced with a hellish precision and for no namable purpose. As I studied the leering characters, their kinship to the symbols on that ominous lock in the cellar became more and more manifest. I left the picture in the attic, for never could sleep come to me with such a thing nearby.
All the afternoon and evening I read in the manuscript book of old Claes van der Heyl, and what I read will cloud and make horrible whatever period of life lies ahead of me. The genesis of the world, and of previous worlds, unfolded itself before my eyes. I learned of the city Sh
amballah, built by the Lemurians fifty million years ago, yet inviolate still behind its walls of psychic force in the eastern desert. I learned of the Book of Dzyan, whose first six chapters antedate the earth, and which was old when the lords of Venus came through space in their ships to civilise our planet. And I saw recorded in writing for the first time that name which others had spoken to me in whispers, and which I had known in a closer and more horrible way—the shunned and dreaded name of Yian-Ho.
In several places I was held up by passages requiring a key. Eventually, from various allusions, I gathered that old Claes had not dared to embody all his knowledge in one book, but had left certain points for another. Neither volume can be wholly intelligible without its fellow; hence I have resolved to find the second one if it lies anywhere within this accursed house. Though plainly a prisoner, I have not lost my lifelong zeal for the unknown; and am determined to probe the cosmos as deeply as possible before doom comes.
April 23
Searched all the morning for the second diary, and found it about noon in a desk in the little locked room. Like the first, it is in Claes van der Heyl’s barbarous Latin; and it seems to consist of disjointed notes referring to various sections of the other. Glancing through the leaves, I spied at once the abhorred name of Yian-Ho—of Yian-Ho, that lost and hidden city wherein brood aeon-old secrets, and of which dim memories older than the body lurk behind the minds of all men. It was repeated many times, and the text around it was strown with crudely drawn hieroglyphs plainly akin to those on the pedestal in that hellish drawing I had seen. Here, clearly, lay the key to that monstrous tentacled shape and its forbidden message. With this knowledge I ascended the creaking stairs to the attic of cobwebs and horror.
The Horror in the Museum Page 41
