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| - IT WAS languid curiousity which first brought Stephen Jones to Rogers' Museum. Someone had told him about the queer underground place in Southwark Street across the river, where waxen things so much more horrible than the worst effigies at Madame Tussaud's were shown, and he had strolled in one April day to see how disappointing he would find it. Oddly, he was not disappointed. There was something different and distinctive here, after all. Of course, the usual gory commonplaces were present--Landru, Doctor Crippen, Madame Demers, Rizzio, Lady Jane Grey, endless maimed victims of war and revolution, and monsters like Gilles de Rais and Marquis de Sade--but there were other things which had made him breathe faster and stay till the ringing of the closing bell. The man who had fashioned this collection could be no ordinary mountebank. There was imagination--even a kind of diseased genius--in some of this stuff. Later he had learned about George Rogers. The man had been on the Tussaud staff, but some trouble had developed which led to his discharge. There were aspersions on his sanity and tales of his crazy forms of secret worship--though latterly his success with his own basement museum had dulled the edge of some criticisms while sharpening the insidious point of others. Teratology and the iconography of nightmare were his hobbies, and even he had had the prudence to screen off some of his worst effigies in a special alcolve for adults only. It was this alcolve which had fascinated Jones so much. There were lumpish hybrid things which only fantasy could spawn, molded with devilish skill, and colored in a horribly life-like fashion. Some were the figures of well-known myth--gorgons, chimeras. dragons, cyclops, and all their shuddersome congeners. Others were drawn from darker and more furtively whispered cycles of subterranean legend--black, formless Tsathoggua, many-tentacled Cthulhu, proboscidian Chaugnar Faugn, and other rumored blasphemies from forbidden books like the Necronomicon, the Book of Eibon, or the Unaussprechlichen Kulten of von Junzt. But the worst were wholly original with Rogers, and represented shapes which no tale of antiquity had ever dared to suggest. Several were hideous parodies on forms of organic life we know, while others seemed to be taken from feverish dreams of other planets and galaxies. The wilder painted of Clark Ashton Smith might suggest a few--but nothing could suggest the effect of poignant, loathsome terror created by their great size and fiendishly cunning workmanship, and by the diabolically clever lighting conditions under which they were exhibited. Stephen Jones, as a leisurely connoisseur of the bizarre in art, had sought out Rogers himself in the dingy office and workroom behind the vaulted museum chamber--an evil-looking crypt lighted dimly by dusty windows set slit-like and horizontal in the brick wall on a level with the ancient cobblestones of a hidden courtyard. It was here that the images were repaired--here, too, where some of them had been made. Waxen arms, legs, heads and torsos lay in grotesque array on various benches, while on high tiers of shelves matted wigs, ravenous-looking teeth, and glassy, staring eyes were indiscriminately scattered. Costumes of all sorts hung from hooks, and in one alcove were great piles of flesh-colored wax-cakes and shelves filled with paint-cans and brushes of every description. In the center of the room was a large melting-furnace used to prepare the wax for molding, its fire-box topped by a huge iron container on hinges, with a spout which permitted the pouring of melted wax with the merest touch of a finger. Other things in the dismal crypt were less describable--isolated parts of problematical entities whose assembled forms were the phantoms of delerium. At one end was a door of heavy plank, fastened by an unusually large padlock and with a very peculiar symbol painted over it. Jone, who had once had access to the dreaded Necronomicon, shivered involuntarily as he recognized that symbol. This showman, he reflected, must indeed be a person of disconcertingly wide scholarship in dark and dubious fields. Nor did the conversation of Rogers disappoint him. The man was tall, lean, and rather unkempt, with large black eyes which gazed combustively from a pallid and usually stubble-covered face. He did not resent Jones' intrusion, but seemed to welcome the chance of unburdening himself to an interested person. His voice was of singular depth and resonance, and harbored a sort of repressed intensity bordering on the feverish. Jones did not wonder that many had thought him mad. With every successive call--and such calls became a habit as the weeks went by--Jones had found Rogers more communicative and confidential. From the first there had been hints of strange faiths and practices on the showman's part, and later on those hints expanded into tales--despite a few odd corroborative photographs--whose extravagence was almost comic. It was some time in June, on a night when Jones had brought a bottle of good whisky and plied his host somewhat freely, that the really demented talk first appeared. Before that there had been wild enough stories--accounts of mysterious trips to Tibet, the African interior, the Arabian desert, the Amazon valley, Alaska, and certain little-known islands of the South Pacific, plus claims of having read such monstrous and half-fabulous books as the prehistoric Pnakotic fragments and the Dhol chants attributed to malign and non-human Leng--but nothing in all this had been so unmistakably insane as what had cropped out that June evening under the spell of the whisky. To be plain, Rogers began making vauge boasts of having found certain things in nature that no one had found before, and of having brought back tangible evidences of such discoveries. According to his bibulous harangue, he had gone farther than anyone else in interpreting the obscure and primal books he studied, and had been directed by them to certain remote places where strange survivals are hidden--survivals of æons and life-cycles earlier than mankind, and in some case connected with other dimensions and other worlds, communication with which was frequent in the forgotten pre-human days. Jones marvelled at the fancy which could conjure up such notions, and wondered just what Rogers' mental history had been. Had his work amidst the morbid grotesequeries of Madame Tussaud's been the start of his imaginative flights, or was the tendency innate, so that his choice of occupation was merely one of its manifestations? At any rate, the man's work was merely[?] very closely linked with his notions. Even now there was no mistaking the trend of his blackest hints about the nightmare monstrosities in the screened-off "Adults only" alcove. Heedless of ridicule, he was trying to imply that not all of these demoniac abnormalities were artificial. It was Jones' frank scepticism and amusement at these irresponsible claims which broke up the growing cordiality. Rogers, it was clear, took himself very seriously; for he now became morose and resentful, continuing to tolerate Jones only through a dogged urge to break down his wall of urbane and complacent incredulity. Wild tales and suggestions of rites and sacrifices to nameless elder gods continued, and now and then Rogers would lead his guest to one of the hideous blashphemies in the screen-off alcolve and point out features difficult to reconcile with even the finest human craftsmanship. Jones continued his visits through sheer fascination, though he knew he had forfeited his host's regards. At times he would humor Rogers with pretended assent to some mad hint or assertion, but the gaunt showman was seldom to be deceived by such tactics. The tension came to a head later in September. Jones had casually dropped into the museum one afternoon, and was wandering through the dim corridors whose horror were now so familiar, when he heard a very peculiar sound from the general direction of Rogers' workroom. Others heard it too, and started nervously as the echoes reverberated through the great vaulted basement. The three attendants exchanged odd glances; and one of them, a dark, taciturn, foreign-looking fellow who always served Rogers as a repairer and assistant designer, smiled in a way which seemed to puzzle his colleagues and which grated very harshly on some facet of Jones' sensibilities. It was the yelp or scream of a dog, and was such a sound as could be made only under conditions of the utmost fright and agony combined. Its stark, anguised frenzy was appalling to hear, and in this setting of grotesque abnormality it held a double hideousness. Jones remembered that no dogs were allowed in the museum. He was about to go to the door leading into the workroom, when the dark attendant stopped him with a word and a gesture. Mr. Rogers, the man said in a soft, somewhat accented voice at once apologetic and vaguely sardonic, was out, and there were standing orders to admit no one to the workroom during his absence. As for that yelp, it was undoubtedly something out in the courtyard behind the museum. This neighborhood was full of stray mongrels, and their fights were sometimes shockingly noisy. There were no dogs in any part of the museum. But if Mr. Jones wished to see Mr. Rogers he might find him just before closing-time. After this Jones climbed the old stone steps to the street outside and examined the squalid neighborhood curiously. The leaning, decrepit buildings--once dwellings but now largely shops and warehouses--were very ancient indeed. Some of them were of a gabled type seeming to go back to Tudor times, and a faint miasmatic stench hung subtly about the whole region. Beside the dingy house whose basement held the museum was a low archway pierced by a dark cobbled alley, and this Jones entered in a vague wish to find the courtyard behind the workroom and settle the affair of the dog comfortably in his mind. The courtyard was dim in the late afternoon light, hemmed in by rear walls even uglier and more intangibly menacing than the crumbling facades of the evil old houses. Not a dog was in sight, and Jones wondered how the aftermath of such a frantic turmoil could have completely vanished so soon. Despite the assistant's statement that no dog had been in the museum, Jones glanced nervously at the three small windows of the basement workroom--narrow, horizontal rectangles close to the grass-grown pavement, with grimy panes that stared repulsively and incuriously like the eyes of dead fish. To their left a worn flight of stairs led to an opaque and heavily bolted door. Some impulse urged him to crouch low on the damp, broken cobblestones and peer in, on the chance that the thick green shades, worked by long cords that hung down to a reachable level, might not be drawn. The outer surfaces were thick with dirt, but as he rubbed them with his handkerchief he saw there was no obscuring curtain in the way of his vision. So shadowed was the cellar from the inside that not much could be made out, but the grotesque working paraphernalia now and then loomed up spectrally as Jones tried each of the windows in turn. It seemed evident at first that no one was within; yet when he peered through the extreme right-hand window--the one nearest the entrance alley--he saw a glow of light at the farther end of the apartment which made him pause in bewilderment. There was no reason why any light should be there. It was an inner side of the room, and he could not recall any gas or electric fixture near that point. Another look defined the glow as a large vertical rectangle, and a though occurred to him. It was in that direction that he had always noticed the heavy plank door with the abnormally large padlock--the door which was never opened, and above which was crudely smeared that hideous cryptic symbol from the fragmentary records of forbidden elder magic. It must be open now--and there was a light inside. All his former speculation as to where that door led, and as to what lay behind it, were now renewed with trebly disquieting force. Jones wandered aimlessly around the dismal locality till close to six o'clock, when he returned to the museum to make the call on Rogers. He could hardly tell why he wished so especially to see the man just then, but there must have been some subconscious misgivings about that terribly unplaceable canine scream of the afternnon, and about the glow of light in that disturbing and usually unopened inner doorway with the heavy padlock. The attendants were leaving as he arrived, and he thought that Orabona--the dark foreign-looking assistant--eyed him with something like sly, repressed amusement. He did not relish that look--even though he had seen the fellow turn it on his employer many times. The vaulted exhibition room was ghoulish in its desertion, but he strode quickly through it and rapped at the door of the office and workroom. Response was slow in coming, though there were footsteps inside. Finally, in response to a second knock, the lock rattled, and the ancient six-panelled portal creaked reluctantly open to reveal the slouching, feverish-eyed form of George Rogers. From the first it was clear that the showman was in an unusual mood. There was a curious mixture of reluctance and actual gloating in his welcome, and his talk at once veered to extravagances of the most hideous and incredible sort. Surviving elder gods--nameless sacrifices--the other than artificial nature of some of the alcove horrors--all the usual boasts, but uttered in a tone of peculiarly increasing confidence. Obviously, Jones reflected, the poor fellow's madness was gaining on him. From time to time Rogers would send furtive glances toward the heavy, padlocked inner door at the end of the room, or toward a piece of coarse burlap on the floor not far from it, beneath which some small object appeared to be lying. Jones grew more nervous as the moments passed, and began to feel as hesitant about mentioning the afternoon's oddities as he had formerly been anxious to do so. Rogers' sepulchrally resonant bass almost cracked under the excitement of his fevered rambling. "Do you remember," he shouted, "what I told you about that ruined city in Indo-China where the Tcho-Tchos lived? You had to admit I'd been there when you saw the photographs, even if you did think I made that oblong swimmer in darkness out of wax. If you'd seen it writhing in the underground pools as I did. . . . "Well, this is bigger still. I never told you about this, because I wanted to work out the later parts before making any claim. When you see the snapshots you'll know the geography couldn't have been faked, and I fancy I have another way of proving It isn't any waxed concoction of mine. You've never seen it, for the experiments wouldn't let me keep It on exhibition." The showman glanced queerly at the padlocked door. "It all comes from that long ritual in the eighth Pnakotic fragment. When I got it figured out I saw it could only have one meaning. There were things in the north before the land of Lomar--before mankind existed--and this was one of them. It took us all the way to Alaska, and up the Nootak from Fort Morton, but the thing was there as we knew it would be. Great cyclopean ruins, acres of them. There was less left than we had hoped for, but after three million years what could one expect? And weren't the Eskimo legends all in the right direction? We couldn't get one of the beggars to go with us, and had to sledge all the way back to Nome for Americans. Orabona was no good up in that climate--it made him sullen and hateful. "I'll tell you later how we found It. When we got the ice blasted out of the pylons of the central ruin the stairway was just as we knew it would be. Some carvings still there, and it was no trouble keeping the Yankees from following us in. Orabona shivered like a leaf--you'd never think it from the damned insolent way he struts around here. He knew enough of the Elder Lore to be properly afraid. The eternal light was gone, but our torches showed enough. We saw the bones of others who had been before us-æons ago, when the climate was warm. Some of those bones were of things you couldn't even imagine. At the third level down we found the ivory throne the fragments said so much about--and I may as well tell you it wasn't empty. "The thing on the throne didn't move--and we knew then that It needed the nourishment of sacrifice. But we didn't want to wake It then. Better to get It to London first. Orabona and I went to the surface for the big box, but when we had packed it we couldn't get It up the three flights of steps. These steps weren't made for human beings, and their size bothered us. Anyway, it was devilish heavy. We had to have the Americans down to get It out. They weren't anxious to go into the place, but of course the worst thing was safely inside the box. We told them it was a batch of ivory carving--archeological stuff; and after seeing the carved throne they probably believed us. It's a wonder they didn't suspect hidden treasure and demand a share. They must have told queer tales around Nome later on; though I doubt if they ever went back to those ruins, even for the ivory throne." Rogers paused, felt around in his desk, and produced an envelope of good-sized photographic prints. Extracting one and laying it face down before him, he handed the rest to Jones. The set was certainly an odd one: ice-clad hills, dog sledges, men in furs, and vast tumbled ruins against a background of snow--ruins whose bizarre outlines and enormous stone blocks could hardly be accounted for. One flashlight view showed an incredible interior chamber with wild carvings and a curious throne whose proportions could not have been designed for a human occupant. The carvings of the gigantic masonry--high walls and peculiar vaulting overhead--were mainly symbolic, and involved both wholly unknown designs and certain hieroglyphs darkly cited in obscene legends. Over the throne loomed the same dreadful symbol which was now painted on the workroom wall above the padlocked plank door. Jones darted a nervous glance at the closed portal. Assuredly, Rogers had been to strange places and had seen strange things. Yet this mad interior picture might easily be a fraud--taken from a very clever stage setting. One must not be too credulous. But Rogers was continuing: "Well, we shipped the box from Nome and got to London without any trouble. That was the first time we'd ever brought back anything that had a chance of coming alive. I didn't put It on display, because there were more important things to do for It. It needed the nourishment of sacrifice, for It was a god. Of course I couldn't get It the sort of sacrifices which It used to have in Its day, for such things don't exist now. But there were other things which might do. The blood is the life, you know. Even the lemures and elementals that are older than the earth will come when the blood of men or beasts is offered under the right conditions." The expression on the narrator's face was growing very alarming and repulsive, so that Jones fidgeted involuntarily in his chair. Rogers seemed to notice his guest's nervousness, and continued with a distinctly evil smile. "It was last year that I got It, and ever since then I've been trying rites and sacrifices. Orabona hasn't been much help, for he was always against the idea of waking It. He hates It--probably because he's afraid of what It will come to mean. He carries a pistol all the time to protect himself--fool, as if there were human protection against It! If I ever see him draw that pistol, I'll strangle him. He wanted me to kill It and make an effigy of It. But I've stuck by my plans, and I'm coming out on top in spite of all the cowards like Orabona and damned sniggering skeptics like you, Jones! I've chanted the rites and made certain sacrifices, and last week the transition came. The sacrifice was--received and enjoyed!" Rogers actually licked his lips, while Jones held himsef uneasily rigid. The showman paused and rose, crossing the room to the piece of burlap at which he had glanced so often. Bending down, he took hold of one corner as he spoke again. "You've laughed enough at my work--now it's time for you to get some facts. Orabona tells me you heard a dog screaming around here this afternoon. Do you know what that meant?" Jones started. For all his curiousity he would have been glad to get out without further light on the point which had so puzzled him. But Rogers was inexorable, and began to lift the square of burlap. Beneath it lay a crushed, almost shapeless mass which Jones was slow to classify. Was it a once-living thing which some agency had flattened, sucked dry of blood, punctured in a thousand places, and wrung into a limp, broken-boned heap of grotesqeness? After a moment Jones realized what it must be. It was what was left of a dog--a dog, perhaps of considerable size and whitish color. Its breed was past recognition, for distortion had come in nameless and hideous ways. Most of the hair was burned off as by some pungent acid, and the exposed, bloodless skin was riddled by innumerable circular wounds or incisions. The form of torture necessary to cause such results was past imagining. Electrified with a pure loathing which conquered his mounting disgust, Jones sprang with a cry. "You damned sadist--you madman--you do a thing like this and dare to speak to a decent man!" Rogers dropped the burlap with a malignant sneer and faced his oncoming guest. His words held an unnatural calm. "Why, you fool, do you think I did this? What of it? It is not human and does not pretend to be. To sacrifice is merely to offer. I gave the dog to It. What happened is It's work, not mine. It needed the nourishment of the offering, and took it in Its own way. But let me show you what It looks like." As Jones stood hesitating, the speaker had returned to his desk and took up the photograph he had laid face down without showing. Now he extended it with a curious look. Jones took it and glanced at in in an almost mechanical way. After a moment the visitor's glance became sharper and more absorbed, for the utterly satanic force of the object depicted had an almost hypnotic effect. Certainly, Rogers had outdone himself in modeling the eldritch nightmare which the camera had caught. The thing was a work of sheer, infernal genius, and Jones wondered how the public would react when it was placed on exhibition. So hideous a thing had no right to exist--probably the mere contemplation of it, after it was done, had completed the unhinging of its maker's mind and led him to worship it with brutal sacrifices. Only a stout sanity could resist the insidious suggestion that the blasphemy was--or had once been--some morbid and exotic form of actual life. The thing in the picture squatted or was balanced on what appeared to be a clever reproduction of the monstrously carved throne in the other curious photograph. To describe it with any ordinary vocabulary would be impossible, for nothing even roughly corresponding to it has ever come within the imagination of sane mankind. It represented something meant perhaps to be roughly connected with the vertebrates of this planet--though one could not be too sure of that. Its bulk was cyclopean, for even squatted it towered to almost twice the height of Orabona, who was shown beside it. Looking sharply, one might trace its approximations toward the bodily features of the higher vertebrates. There was an almost globular torso, with six long, sinuous limbs terminating in crab-like claws. From the upper end a subsidiary globe bulged forth bubble-like; its triangle of three staring, fishy eyes, its foot-long and evidently flexible proboscis, and a distended lateral system analogous to gills, suggesting that it was a head. Most of the body was covered with what at first appeared to be fur, but which on closer examination proved to be a dense growth of dark, slender tentacles or sucking filaments, each tipped with a mouth suggesting the head of an asp. On the head and below the proboscis the tentacles tended to be longer and thicker, marked with spiral stripes--suggesting the traditional serpent-locks of Medusa. To suggest that such a thing could have an expression seems paradoxical; yet Jones felt that that triangle of bulging fish eyes and that obliquely poised proboscis all bespoke a blend of hate, greed and sheer cruelty incomprehensible to mankind because it was mixed with other emotions not of the world or this solar system. Into this bestial abnormality, he reflected, Rogers must have poured at once all his malignant insanity and all his uncanny sculptural genius. The thing was incredible--and yet the photograph proved that it existed. Rogers interrupted his reveries. "Well--what do you think of It? Now do you wonder what crushed the dog and sucked it dry with a million mouths? It needed nourishment--and It will need more. It is a god, and I am the first priest of Its latter-day hierarchy. Iä! Shub-Niggurath! The Goat with a Thousand Young!" Jones lowered the photograph in disgust and pity. "See here, Rogers, this won't do. There are limits, you know. It's a great piece of work, and all that, but it isn't good for you. Better not see it any more--let Orabona break it up, and try to forget about it. And let me tear this beastly picture up, too." With a snarl, Rogers snatched the photograph and returned it to the desk. "Idiot--you--and you still think It's a fraud! You still think I made It, and you still think my figures are nothing but lifeless wax! Why, damn you, you're going to know. Not just now, for It is resting after the sacrifice--but later. Oh, yes--you will not doubt the power of It then." As Rogers glanced toward the padlocked inner door Jones retrieved his hat and stick from a near-by bench. "Very well, Rogers, let it be later. I must be going now, but I'll call round tomorrow afternoon. Think my advice over and see if it doesn't sound sensible. Ask Orabona what he thinks, too." Rogers bared his teeth in wild-beast fashion. "Must be going now, eh? Afraid, after all! Afraid, for all your bold talk! You say the effigies are only wax, and yet you run away when I begin to prove that they aren't. You're like the fellows who take my standing bet that they daren't spend the night in the museum--they come boldly enough, but after an hour they shriek and hammer to get out! Want me to ask Orabona, eh? You two--always against me! You want to break down the coming earthly reign of It!" Jones preserved his calm. "No, Rogers--there's nobody against you. And I'm not afraid of your figures, either, much as I admire your skill. But we're both a bit nervous tonight, and I fancy some rest will do us good." Again Rogers checked his guest's departure. "Not afraid, eh?--then why are you so anxious to go? Look here--do you or don't you dare to stay alone here in the dark? What's your hurry if you don't believe in It?" Some new idea seemed to have struck Rogers, and Jones eyed him closely. "Why, I've no special hurry--but what would be gained by my staying here alone? What would it prove? My only objection is that it isn't very comfortable for sleeping. What good would it do either of us?" This time it was Jones who was struck with an idea. He continued in a tone of conciliation. "See here, Rogers--I've just asked you what it would prove if I stayed, when we both knew. It would prove that your effigies are just effigies, and that you oughtn't to let your imagination go the way it's been going lately. Suppose I do stay. If I stick it out till morning, will you agree to take a new view of things--go on a vacation for three months or so and let Orabona destroy that new thing of yours? Come, now--isn't that fair?" The expression on the showman's face was hard to read. It was obvious that he was thinking quickly, and that of sundry conflicting emotions, malign triumph was getting the upper hand. His voice held a choking quality as he replied. "Fair enough! If you do stick it out, I'll take your advice. We'll go out for dinner and come back. I'll lock you in the display room and go home. In the morning I'll come down ahead of Orabona--he comes half an hour before the rest--and see how you are. But don't try it unless you are very sure of your skepticism. Others have backed out--you have that chance. And I suppose a pounding on the outer door would always bring a constable. You may not like it so well after a while--you'll be in the same building, though not in the same room with It." As they left the rear door into the dingy courtyard, Rogers took with him the piece of burlap--weighted with a gruesome burden. Near the center of the court was a manhole, whose cover the showman lifted quietly, and with a shuddersome suggestion of familiarity. Burlap and all, the burden went down to the oblivion of a cloacal labyrinth. Jones shuddered, and almost shrank from the gaunt figure at his side as they emerged into the street. By unspoken mutual consent, they did not dine together, but agreed to meet in front of the museum at eleven. Jones hailed a cab, and breathed more freely when he had crossed Waterloo Bridge and was approaching the brilliantly lighted Strand. He dined at a quite café, and subsequently went to his home in Portland Place to bathe and get a few things. Idly he wondered what Rogers was doing. He had heard that the man had a vast, dismal house in the Walworth Road, full of obscure and forbidden books, occult paraphernalia, and wax images which he did not choose to place on exhibition. Orabona, he understood, lived in separate quarters in the same house. At eleven Jones found Rogers waiting by the basement door in Southwark Street. Their words were few, but each seemed taut with a menacing tension. They agreed that the vaulted exhibition room alone should form the scene of the vigil, and Rogers did not insist that the watcher sit in the special adult alcove of supreme horrors. The showman, having extinguished all the lights with switches in the workroom, locked the door of that crypt with one of the keys on his crowded ring. Without shaking hands he passed out the street door, locked it after him, and passed up the worn steps to the sidewalk outside. As his tread receded, Jones realized that the long, tedious vigil had commenced.
- The Horror in the Museum, Written October 1932, published July 1933 in Weird Tales, 22, No. 1, 49-68. By H.P. Lovecraft and Hazel Heald Text copied from WikiSource
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