The little shop was empty of customers. Knowing my proclivities, the owner and his one assistant became tacitly non-attentive after a word of recognition, and left me to rummage at will among the curiously laden shelves. Wedged in between other but less alluring titles, I found a deluxe edition of Goya’s Proverbes. I began to turn the heavy pages, and was soon engrossed in the diabolic art of these nightmare-nurtured drawings.
It has always been incomprehensible to me that I did not shriek aloud with mindless, overmastering terror, when I happened to look up from the volume, and saw the thing that was crouching in a corner of the book-shelves before me. I could not have been more hideously startled if some hellish conception of Goya had suddenly come to life and emerged from one of the pictures in the folio.
What I saw was a forward-slouching, vermin-gray figure, wholly devoid of hair or down or bristles, but marked with faint, etiolated rings like those of a serpent that has lived in darkness. It possessed the head and brow of an anthropoid ape, a semi-canine mouth and jaw, and arms ending in twisted hands whose black hyena talons nearly scraped the floor. The thing was infinitely bestial, and, at the same time, macabre; for its parchment skin was shriveled, corpselike, mummified, in a manner impossible to convey; and from eye sockets well-nigh deep as those of a skull, there glimmered evil slits of yellowish phosphorescence, like burning sulfur. Fangs that were stained as if with poison or gangrene, issued from the slavering, half-open mouth; and the whole attitude of the creature was that of some maleficent monster in readiness to spring.
Though I had been for years a professional writer of stories that often dealt with occult phenomena, with the weird and the spectral, I was not at this time possessed of any clear and settled belief regarding such phenomena. I had never before seen anything that I could identify as a phantom, nor even an hallucination; and I should hardly have said offhand that a bookstore on a busy street, in full summer daylight, was the likeliest of places in which to see one. But the thing before me was assuredly nothing that could ever exist among the permissible forms of a sane world. It was too horrific, too atrocious, to be anything but a creation of unreality.
Even as I stared across the Goya, sick with a half incredulous fear, the apparition moved toward me. I say that it moved, but its change of position was so instantaneous, so utterly without effort or visible transition, that the verb is hopelessly inadequate. The foul specter had seemed five or six feet away. But now it was stooping directly above the volume that I still held in my hands, with its loathsomely lambent eyes peering upward at my face, and a gray-green slime drooling from its mouth on the broad pages. At the same time I breathed an insupportable fetor, like a mingling of rancid serpent-stench with the moldiness of antique charnels and the fearsome reek of newly decaying carrion.
In a frozen timelessness that was perhaps no more than a second or two, my heart appeared to suspend its beating, while I beheld the ghastly face. Gasping, I let the Goya drop with a resonant bang on the floor, and even as it fell, I saw that the vision had vanished.
Toleman, a tonsured gnome with shell-rimmed goggles, rushed forward to retrieve the fallen volume, exclaiming: “What is wrong, Mr. Hastane? Are you ill?” From the meticulousness with which he examined the binding in search of possible damage, I knew that his chief solicitude was concerning the Goya. It was plain that neither he nor his clerk had seen the phantom; nor could I detect aught in their demeanor to indicate that they had noticed the mephitic odor that still lingered in the air like an exhalation from broken graves. And, as far as I could tell, they did not even perceive the grayish slime that still polluted the open folio.
I do not remember how I managed to make my exit from the shop. My mind had become a seething blur of muddled horror, of crawling, sick revulsion from the supernatural vileness I had beheld, together with the direst apprehension for my own sanity and safety. I recall only that I found myself on the street above Toleman’s, walking with feverish rapidity toward my cousin’s studio, with a neat parcel containing the Goya volume under my arm. Evidently, in an effort to atone for my clumsiness, I must have bought and paid for the book by a sort of automatic impulse, without any real awareness of what I was doing.
I came to the building in which was my destination, but went on around the block several times before entering. All the while I fought desperately to regain my self-control and equipoise. I remember how difficult it was even to moderate the pace at which I was walking, or refrain from breaking into a run; for it seemed to me that I was fleeing all the time from an invisible pursuer. I tried to argue with myself, to convince the rational part of my mind that the apparition had been the product of some evanescent trick of light and shade, or a temporary dimming of eyesight. But such sophistries were useless; for I had seen the gargoylish terror all too distinctly, in an unforgettable fullness of grisly detail.
What could the thing mean? I had never used narcotic drugs or abused alcohol. My nerves, as far as I knew, were in sound condition. But either I had suffered a visual hallucination that might mark the beginning of some obscure cerebral disorder, or had been visited by a spectral phenomenon, by something from realms and dimensions that are past the normal scope of human perception. It was a problem either for the alienist or the occultist.
Though I was still damnably upset, I contrived to regain a nominal composure of my faculties. Also, it occurred to me that the unimaginative portrait busts and tamely symbolic figure-groups of Cyprian Sincaul might serve admirably to sooth my shaken nerves. Even his grotesques would seem sane and ordinary by comparison with the blasphemous gargoyle that had drooled before me in the bookshop.
I entered the studio building, and climbed a worn stairway to the second floor, where Cyprian had established himself in a somewhat capacious suite of rooms. As I went up the stairs, I had the peculiar feeling that somebody was climbing them just ahead of me; but I could neither see nor hear anyone, and the hall above was no less silent and empty than the stairs.
Cyprian was in his atelier when I knocked. After an interval which seemed unduly long, I heard him call out, telling me to enter. I found him wiping his hands on an old cloth, and surmised that he had been modeling. A sheet of light burlap had been thrown over what was plainly an ambitious but unfinished group of figures, which occupied the center of the long room. All around were other sculptures, in clay, bronze, marble, and even the terra cotta and steatite which he sometimes employed for his less conventional conceptions. At one end of the room there stood a heavy Chinese screen.
At a single glance I realized that a great change had occurred, both in Cyprian Sincaul and his work. I remembered him as an amiable, somewhat flabby-looking youth, always dapperly dressed, with no trace of the dreamer or visionary. It was hard to recognize him now, for he had become lean, harsh, vehement, with an air of pride and penetration that was almost Luciferian. His unkempt mane of hair was already shot with white, and his eyes were electrically brilliant with a strange knowledge, and yet somehow were vaguely furtive, as if there dwelt behind them a morbid and macabre fear.
The change in his sculpture was no less striking. The respectable tameness and polished mediocrity were gone, and in their place, incredibly, was something little short of genius. More unbelievable still, in view of the laboriously ordinary grotesques of his earlier phase, was the trend that his art had now taken. All around me were frenetic, murderous demons, satyrs mad with nympholepsy, ghouls that seemed to sniff the odors of the charnel, lamias voluptuously coiled about their victims, and less namable things that belonged to the outland realms of evil myth and malign superstition.
Sin, horror, blasphemy, diablerie—the lust and malice of pandemonium—all had been caught with impeccable art; The potent nightmarishness of these creations was not calculated to reassure my trembling nerves; and all at once I felt an imperative desire to escape from the studio, to flee from the baleful throng of frozen cacodemons and chiseled chimeras.
My expression must have betrayed my feelings to some exten
t.
“Pretty strong work, aren’t they?” said Cyprian, in a loud, vibrant voice, with a note of harsh pride and triumph. “I can see that you are surprised—you didn’t look for anything of the sort, I dare say.”
“No, candidly, I didn’t,” I admitted. “Good Lord, man, you will become the Michelangelo of diabolism if you go on at this rate; Where on Earth do you get such stuff?”
“Yes, I’ve gone pretty far,” said Cyprian, seeming to disregard my question. “Further even than you think, probably. If you could know what I know, could see what I have seen, you might make something really worth-while out of your weird fiction, Philip. You are very clever and imaginative, of course. But you’ve never had any experience.”
I was startled and puzzled. “Experience? What do you mean?”
“Precisely that. You try to depict the occult and the supernatural without even the most rudimentary first-hand knowledge of them. I tried to do something of the same sort in sculpture, years ago, without knowledge; and doubtless you recall the mediocre mess that I made of it. But I’ve learned a thing or two since then.”
“Sounds as if you had made the traditional bond with the devil, or something of the sort,” I observed, with a feeble and perfunctory levity.
Cyprian’s eyes narrowed slightly, with a strange, secret look.
“I know what I know. Never mind how or why. The world in which we live isn’t the only world; and some of the others lie closer at hand than you think. The boundaries of the seen and the unseen are sometimes interchangeable.”
Recalling the malevolent phantom, I felt a peculiar disquietude as I listened to his words. An hour before, his statement would have impressed me as mere theorizing, but now it assumed an ominous and terrifying significance.
“What makes you think I have had no experience of the occult?” I asked.
“Your stories hardly show anything of the kind—anything factual or personal. They are all palpably made up. When you’ve argued with a ghost, or watched the ghouls at meal-time, or fought with an incubus, or suckled a vampire, you may achieve some genuine characterization and color along such lines.”
For reasons that should be fairly obvious, I had not intended to tell anyone of the unbelievable thing at Toleman’s. Now, with a singular mixture of emotions, of compulsive, eerie terrors and desire to refute the animadversions of Cyprian, I found myself describing the phantom.
He listened with an inexpressive look, as if his thoughts were occupied with other matters than my story. Then, when I had finished:
“You are becoming more psychic than I imagined. Was your apparition anything like one of these?”
With the last words, he lifted the sheet of burlap from the muffled group of figures beside which he had been standing.
I cried out involuntarily with the shock of that appalling revelation, and almost tottered as I stepped back.
Before me, in a monstrous semicircle, were seven creatures who might all have been modeled from the gargoyle that had confronted me across the folio of Goya drawings. Even in several that were still amorphous or incomplete, Cyprian had conveyed with a damnable art the peculiar mingling of primal bestiality and mortuary putrescence that had signalized the phantom. The seven monsters had closed in on a cowering, naked girl, and were all clutching foully toward her with their hyena claws. The stark, frantic, insane terror on the face of the girl, and the slavering hunger of her assailants, were alike unbearable. The group was a masterpiece, in its consummate power of technique—but a masterpiece that inspired loathing rather than admiration. And following my recent experience, the sight of it affected me with indescribable alarm. It seemed to me that I had gone astray from the normal, familiar world into a land of detestable mystery, of prodigious and unnatural menace.
Held by an abhorrent fascination, it was hard for me to wrench my eyes away from the figure-piece. At last I turned from it to Cyprian himself. He was regarding me with a cryptic air, beneath which I suspected a covert gloating.
“How do you like my little pets?” he inquired. “I am going to call the composition The Hunters from Beyond.”
Before I could answer, a woman suddenly appeared from behind the Chinese screen. I saw that she was the model for the girl in the unfinished group. Evidently she had been dressing, and she was now ready to leave, for she wore a tailored suit and a smart toque. She was beautiful, in a dark, semi-Latin fashion; but her mouth was sullen and reluctant, and her wide, liquid eyes were wells of strange terror as she gazed at Cyprian, myself, and the uncovered statue-piece.
Cyprian did not introduce me. He and the girl talked together in low tones for a minute or two, and I was unable to overhear more than half of what they said. I gathered, however, that an appointment was being made for the next sitting. There was a pleading, frightened note in the girl’s voice, together with an almost maternal concern; and Cyprian seemed to be arguing with her or trying to reassure her about something. At last she went out, with a queer, supplicative glance at me—a glance whose meaning I could only surmise and could not wholly fathom.
“That was Marta,” said Cyprian. “She is half Irish, half Italian. A good model; but my new sculptures seem to be making her a little nervous.” He laughed abruptly, with a mirthless, jarring note that was like the cachinnation of a sorcerer.
“In God’s name, what are you trying to do here?” I burst out. “What does it all mean? Do such abominations really exist, on earth or in any hell?”
He laughed again, with an evil subtlety, and became evasive all at once. “Anything may exist, in a boundless universe with multiple dimensions. Anything may be real—or unreal. Who knows? It is not for me to say. Figure it out for yourself, if you can—there’s a vast field for speculation—and perhaps for more than speculation.”
With this, he began immediately to talk of other topics. Baffled, mystified, with a sorely troubled mind and nerves that were more unstrung than ever by the black enigma of it all, I ceased to question him. Simultaneously, my desire to leave the studio became almost overwhelming—a mindless, whirlwind panic that prompted me to run pell-mell from the room and down the stairs into the wholesome normality of the common, Twentieth Century streets. It seemed to me that the rays which fell through the skylight were not those of the sun, but of some darker orb; that the room was touched with unclean webs of shadow where shadow should not have been; that the stone Satans, the bronze lamias, the terracotta satyrs, and the clay gargoyles had somehow increased in number and might spring to malignant life at any instant.
Hardly knowing what I said, I continued to converse for a while with Cyprian. Then, excusing myself on the score of a nonexistent luncheon appointment, and promising vaguely to return for another visit before my departure from the city, I took my leave.
I was surprised to find my cousin’s model in the lower hall, at the foot of the stairway. From her manner, and her first words, it was plain that she had been waiting.
“You are Mr. Philip Hastane, aren’t you?” she said, in an eager, agitated voice. “I am Marta Fitzgerald. Cyprian has often mentioned you, and I believe that he admires you a lot.
“Maybe you’ll think me crazy,” she went on, “but I had to speak to you. I can’t stand the way that things are going here, and I’d refuse to come to the place any more, if it wasn’t that I—like Cyprian so much.
“I don’t know what he has done—but he is altogether different from what he used to be. His new work is so horrible—you can’t imagine how it frightens me. The sculptures he does are more hideous, more hellish all the time. Ugh! those drooling, dead-gray monsters in that new group of his—I can hardly bear to be in the studio with them. It isn’t right for anyone to depict such things. Don’t you think they are awful, Mr. Hastane? They look as if they had broken loose from hell—and make you think that hell can’t be very far away. It is wrong and wicked for anyone to—even imagine them; and I wish that Cyprian would stop. I am afraid that something will happen to him—to his mind—if he goes on. An
d I’ll go mad, too, if I have to see those monsters many more times. My God! No one could keep sane in that studio.”
She paused, and appeared to hesitate. Then:
“Can’t you do something, Mr. Hastane! Can’t you talk to him, and tell him how wrong it is, and how dangerous to his mental health? You must have a lot of influence with Cyprian—you are his cousin, aren’t you? And he thinks you are very clever, too. I wouldn’t ask you, if I hadn’t been forced to notice so many things that aren’t as they should be.
“I wouldn’t bother you, either, if I knew anyone else to ask. He has shut himself up in that awful studio for the past year, and he hardly ever sees anybody. You are the first person that he has invited to see his new sculptures. He wants them to be a complete surprise for the critics and the public, when he holds his next exhibition.
“But you’ll speak to Cyprian, won’t you, Mr. Hastane? I can’t do anything to stop him—he seems to exult in the mad horrors he creates. And he merely laughs at me when I try to tell him the danger. However, I think that those things are making him a little nervous sometimes—that he is growing afraid of his own morbid imagination. Perhaps he will listen to you.”
If I had needed anything more to unnerve me, the desperate pleading of the girl and her dark, obscurely baleful hintings would have been enough. I could see that she loved Cyprian, that she was frantically anxious concerning him, and hysterically afraid; otherwise, she would not have approached an utter stranger in this fashion.
“But I haven’t any influence with Cyprian,” I protested, feeling a queer embarrassment. “And what am I to say to mine. His new sculptures are magnificent—I have never seen anything more powerful of the kind. And how could I advise him to stop doing them? There would be no legitimate reason; he would simply laugh me out of the studio. An artist has the right to choose his own subject-matter, even if he takes it from the nether pits of Limbo and Erebus.”
The Cthulhu Mythos Megapack Page 93