The Haunter of the Dark and Other Tales. Говард Филлипс Лавкрафт
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and the degradation of the mortal tenement. In the second place, they terrified because of their very greatness. Their art was the art that convinced – when we saw the pictures we saw the daemons themselves and were afraid of them. And the queer part was, that Pickman got none of his power from the use of selectiveness or bizarrerie. Nothing was blurred, distorted, or conventionalized; outlines were sharp and lifelike, and the details were almost painfully defined. And the faces!
It was not any mere artist’s interpretation that we saw; it was pandemonium itself, crystal clear in stark objectivity. That was it, by Heaven! The man was not a fantaisiste or romanticist at all – he did not even try to give us the churning, prismatic ephemera of dreams, but coldly and sardonically reflected some stable, mechanistic, and well-established horror-world which he saw fully, brilliantly, squarely, and unfalteringly. God knows what that world can have been, or where he ever glimpsed the blasphemous shapes that loped and trotted and crawled through it; but whatever the baffling source of his images, one thing was plain. Pickman was in every sense – in conception and in execution – a thorough, painstaking, and almost scientific realist.
My host was now leading the way down the cellar to his actual studio, and I braced myself for some hellish efforts among the unfinished canvases. As we reached the bottom of the damp stairs he turned his flashlight to a corner of the large open space at hand, revealing the circular brick curb of what was evidently a great well in the earthen floor. We walked nearer, and I saw that it must be five feet across, with walls a good foot thick and some six inches above the ground level – solid work of the seventeenth century, or I was much mistaken. That, Pickman said, was the kind of thing he had been talking about – an aperture of the network of tunnels that used to undermine the hill. I noticed idly that it did not seem to be bricked up, and that a heavy disc of wood formed the apparent cover. Thinking of the things this well must have been connected with if Pickman’s wild hints had not been mere rhetoric, I shivered slightly; then turned to follow him up a step and through a narrow door into a room of fair size, provided with a wooden floor and furnished as a studio. An acetylene gas outfit gave the light necessary for work.
The unfinished pictures on easels or propped against the walls were as ghastly as the finished ones upstairs, and showed the painstaking methods of the artist. Scenes were blocked out with extreme care, and pencilled guide lines told of the minute exactitude which Pickman used in getting the right perspective and proportions. The man was great – I say it even now, knowing as much as I do. A large camera on a table excited my notice, and Pickman told me that he used it in taking scenes for backgrounds, so that he might paint them from photographs in the studio instead of carting his outfit around the town for this or that view. He thought a photograph quite as good as an actual scene or model for sustained work, and declared he employed them regularly.
There was something very disturbing about the nauseous sketches and half-finished monstrosities that leered round from every side of the room, and when Pickman suddenly unveiled a huge canvas on the side away from the light I could not for my life keep back a loud scream – the second I had emitted that night. It echoed and echoed through the dim vaultings of that ancient and nitrous cellar, and I had to choke back a flood of reaction that threatened to burst out as hysterical laughter. Merciful Creator! Eliot, but I don’t know how much was real and how much was feverish fancy.
It doesn’t seem to me that earth can hold a dream like that!
It was a colossal and nameless blasphemy with glaring red eyes, and it held in bony claws a thing that had been a man, gnawing at the head as a child nibbles at a stick of candy. Its position was a kind of crouch, and as one looked one felt that at any moment it might drop its present prey and seek a juicier morsel. But damn it all, it wasn’t even the fiendish subject that made it such an immortal fountain-head of all panic – not that, nor the dog face with its pointed ears, bloodshot eyes, flat nose, and drooling lips. It wasn’t the scaly claws nor the mould-caked body nor the half-hooved feet – none of these, though any one of them might well have driven an excitable man to madness.
It was the technique, Eliot – the cursed, the impious, the unnatural technique! As I am a living being, I never elsewhere saw the actual breath of life so fused into a canvas. The monster was there – it glared and gnawed and gnawed and glared – and I knew that only a suspension of Nature’s laws could ever let a man paint a thing like that without a model – without some glimpse of the nether world which no mortal unsold to the Fiend has ever had.
Pinned with a thumb-tack to a vacant part of the canvas was a piece of paper now badly curled up – probably, I thought, a photograph from which Pickman meant to paint a background as hideous as the nightmare it was to enhance. I reached out to uncurl and look at it, when suddenly I saw Pickman start as if shot. He had been listening with peculiar intensity ever since my shocked scream had waked unaccustomed echoes in the dark cellar, and now he seemed struck with a fright which, though not comparable to my own, had in it more of the physical than of the spiritual. He drew a revolver and motioned me to silence, then stepped out into the main cellar and closed the door behind him.
I think I was paralysed for an instant. Imitating Pickman’s listening, I fancied I heard a faint scurrying sound somewhere, and a series of squeals or beats in a direction I couldn’t determine. I thought of huge rats and shuddered. Then there came a subdued sort of clatter which somehow set me all in gooseflesh – a furtive, groping kind of clatter, though I can’t attempt to convey what I mean in words. It was like heavy wood falling on stone or brick – wood on brick – what did that make me think of?
It came again, and louder. There was a vibration as if the wood had fallen farther than it had fallen before. After that followed a sharp grating noise, a shouted gibberish from Pickman, and the deafening discharge of all six chambers of a revolver, fired spectacularly as a lion-tamer might fire in the air for effect. A muffled squeal or squawk, and a thud. Then more wood and brick grating, a pause, and the opening of the door – at which I’ll confess I started violently. Pickman reappeared with his smoking weapon, cursing the bloated rats that infested the ancient well.
‘The deuce knows what they eat, Thurber,’ he grinned, ‘for those archaic tunnels touched graveyard and witch-den and sea-coast. But whatever it is, they must have run short, for they were devilish anxious to get out. Your yelling stirred them up, I fancy. Better be cautious in these old places – our rodent friends are the one drawback, though I sometimes think they’re a positive asset by way of atmosphere and colour.’
Well, Eliot, that was the end of the night’s adventure. Pickman had promised to show me the place, and Heaven knows he had done it. He led me out of that tangle of alleys in another direction, it seems, for when we sighted a lamp-post we were in a half-familiar street with monotonous rows of mingled tenement blocks and old houses. Charter Street, it turned out to be, but I was too flustered to notice just where we hit it. We were too late for the elevated, and walked back downtown through Hanover Street. I remember that walk. We switched from Tremont up Beacon, and Pickman left me at the corner of Joy, where I turned off. I never spoke to him again.
Why did I drop him? Don’t be impatient. Wait till I ring for coffee. We’ve had enough of the other stuff, but I for one need something. No – it wasn’t the paintings I saw in that place; though I’ll swear they were enough to get him ostracized in nine-tenths of the homes and clubs of Boston, and I guess you won’t wonder now why I have to steer clear of subways and cellars. It was – something I found in my coat the next morning. You know, the curled-up paper tacked to the frightful canvas in the cellar; the thing I thought was a photograph of some scene he meant to use as a background for that monster. That last scare had come while I was reaching to uncurl it, and it seems I had vacantly crumpled it into my pocket. But here’s the coffee – take it black, Eliot, if you’re wise.
Yes, that paper was the reason I dropped Pickman; Richard Upton Pickman, the greatest artist I have ever known – and the foulest being that ever leaped the bounds of life into the pits of myth and madness. Eliot – old Reid was right. He wasn’t strictly human. Either he was born in strange shadow, or he’d found a way to unlock the forbidden gate. It’s all the same now, for he’s gone – back into the fabulous darkness he loved to haunt. Here, let’s have the chandelier going.
Don’t ask me to