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 squamous 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.
This has been a day of horrible discovery. I explored the cobwebbed 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 colored 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 had 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 eons past and to come–and those eldritch symbols be vile sentient ikons 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 near by.
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 Shamballah, 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 civilize 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
