The Horror in the Museum (46 page)

As curator of the museum I am in a position to reveal all the suppressed facts, but this I shall not do during my lifetime. There are things about the world and universe which it is better for the majority not to know, and I have not departed from the opinion in which all of us—museum staff, physicians, reporters, and police— concurred at the period of the horror itself. At the same time it seems proper that a matter of such overwhelming scientific and historic importance should not remain wholly unrecorded—hence this account which I have prepared for the benefit of serious students. I shall place it among various papers to be examined after my death, leaving its fate to the discretion of my executors. Certain threats and unusual events during the past weeks have led me to believe that my life—as well as that of other museum officials—is in some peril through the enmity of several widespread secret cults of Asiatics, Polynesians, and heterogeneous mystical devotees; hence it is possible that the work of the executors may not be long postponed. [Executor’s note: Dr. Johnson died suddenly and rather mysteriously of heart-failure on April 22, 1933. Wentworth Moore, taxidermist of the museum, disappeared around the middle of the preceding month. On February 18 of the same year Dr. William Minot, who superintended a dissection connected with the case, was stabbed in the back, dying the following day.]

The real beginning of the horror, I suppose, was in 1879—long before my term as curator—when the museum acquired that ghastly, inexplicable mummy from the Orient Shipping Company. Its very discovery was monstrous and menacing, for it came from a crypt of unknown origin and fabulous antiquity on a bit of land suddenly upheaved from the Pacific’s floor.

On May 11, 1878, Capt. Charles Weatherbee of the freighter
Eridanus,
bound from Wellington, New Zealand, to Valparaiso, Chile, had sighted a new island unmarked on any chart and evidently of volcanic origin. It projected quite boldly out of the sea in the form of a truncated cone. A landing-party under Capt. Weatherbee noted evidences of long submersion on the rugged slopes which they climbed, while at the summit there were signs of recent destruction, as by an earthquake. Among the scattered rubble were massive stones of manifestly artificial shaping, and a little examination disclosed the presence of some of that prehistoric Cyclopean masonry found on certain Pacific islands and forming a perpetual archaeological puzzle.

Finally the sailors entered a massive stone crypt—judged to have
been part of a much larger edifice, and to have originally lain far underground—in one corner of which the frightful mummy crouched. After a short period of virtual panic, caused partly by certain carvings on the walls, the men were induced to move the mummy to the ship, though it was only with fear and loathing that they touched it. Close to the body, as if once thrust into its clothes, was a cylinder of an unknown metal containing a roll of thin, bluish-white membrane of equally unknown nature, inscribed with peculiar characters in a greyish, indeterminable pigment. In the centre of the vast stone floor was a suggestion of a trap-door, but the party lacked apparatus sufficiently powerful to move it.

The Cabot Museum, then newly established, saw the meagre reports of the discovery and at once took steps to acquire the mummy and the cylinder. Curator Pickman made a personal trip to Valparaiso and outfitted a schooner to search for the crypt where the thing had been found, though meeting with failure in this matter. At the recorded position of the island nothing but the sea’s unbroken expanse could be discerned, and the seekers realised that the same seismic forces which had suddenly thrust the island up had carried it down again to the watery darkness where it had brooded for untold aeons. The secret of that immovable trap-door would never be solved. The mummy and the cylinder, however, remained —and the former was placed on exhibition early in November, 1879, in the museum’s hall of mummies.

The Cabot Museum of Archaeology, which specialises in such remnants of ancient and unknown civilisations as do not fall within the domain of art, is a small and scarcely famous institution, though one of high standing in scientific circles. It stands in the heart of Boston’s exclusive Beacon Hill district—in Mt. Vernon Street, near Joy—housed in a former private mansion with an added wing in the rear, and was a source of pride to its austere neighbours until the recent terrible events brought it an undesirable notoriety.

The hall of mummies on the western side of the original mansion (which was designed by Bulfinch and erected in 1819), on the second floor, is justly esteemed by historians and anthropologists as harbouring the greatest collection of its kind in America. Here may be found typical examples of Egyptian embalming from the earliest Sakkarah specimens to the last Coptic attempts of the eighth century; mummies of other cultures, including the prehistoric Indian specimens recently found in the Aleutian Islands; agonised Pompeian figures moulded in plaster from tragic hollows in the ruinchoking
ashes; naturally mummified bodies from mines and other excavations in all parts of the earth—some surprised by their terrible entombment in the grotesque postures caused by their last, tearing death-throes—everything, in short, which any collection of the sort could well be expected to contain. In 1879, of course, it was much less ample than it is now; yet even then it was remarkable. But that shocking thing from the primal Cyclopean crypt on an ephemeral sea-spawned island was always its chief attraction and most impenetrable mystery.

The mummy was that of a medium-sized man of unknown race, and was cast in a peculiar crouching posture. The face, half shielded by claw-like hands, had its under jaw thrust far forward, while the shrivelled features bore an expression of fright so hideous that few spectators could view them unmoved. The eyes were closed, with lids clamped down tightly over eyeballs apparently bulging and prominent. Bits of hair and beard remained, and the colour of the whole was a sort of dull neutral grey. In texture the thing was half leathery and half stony, forming an insoluble enigma to those experts who sought to ascertain how it was embalmed. In places bits of its substance were eaten away by time and decay. Rags of some peculiar fabric, with suggestions of unknown designs, still clung to the object.

Just what made it so infinitely horrible and repulsive one could hardly say. For one thing, there was a subtle, indefinable sense of limitless antiquity and utter alienage which affected one like a view from the brink of a monstrous abyss of unplumbed blackness—but mostly it was the expression of crazed fear on the puckered, prognathous, half-shielded face. Such a symbol of infinite, inhuman, cosmic fright could not help communicating the emotion to the beholder amidst a disquieting cloud of mystery and vain conjecture.

Among the discriminating few who frequented the Cabot Museum this relic of an elder, forgotten world soon acquired an unholy fame, though the institution’s seclusion and quiet policy prevented
it
from becoming a popular sensation of the “Cardiff Giant” sort. In the last century the art of vulgar ballyhoo had not invaded the field of scholarship to the extent it has now succeeded in doing. Naturally, savants of various kinds tried their best to classify the frightful object, though always without success. Theories of a bygone Pacific civilisation, of which the Easter Island images and the megalithic masonry of Ponape and Nan-Matol are conceivable vestiges, were freely circulated among students, and learned journals
carried varied and often conflicting speculations on a possible former continent whose peaks survive as the myriad islands of Melanesia and Polynesia. The diversity in dates assigned to the hypothetical vanished culture—or continent—was at once bewildering and amusing; yet some surprisingly relevant allusions were found in certain myths of Tahiti and other islands.

Meanwhile the strange cylinder and its baffling scroll of unknown hieroglyphs, carefully preserved in the museum library, received their due share of attention. No question could exist as to their association with the mummy; hence all realised that in the unravelling of their mystery the mystery of the shrivelled horror would in all probability be unravelled as well. The cylinder, about four inches long by seven-eighths of an inch in diameter, was of a queerly iridescent metal utterly defying chemical analysis and seemingly impervious to all reagents. It was tightly fitted with a cap of the same substance, and bore engraved figurings of an evidently decorative and possibly symbolic nature—conventional designs which seemed to follow a peculiarly alien, paradoxical, and doubtfully describable system of geometry.

Not less mysterious was the scroll it contained—a neat roll of some thin, bluish-white, unanalysable membrane, coiled round a slim rod of metal like that of the cylinder, and unwinding to a length of some two feet. The large, bold hieroglyphs, extending in a narrow line down the centre of the scroll and penned or painted with a grey pigment defying analysis, resembled nothing known to linguists and palaeographers, and could not be deciphered despite the transmission of photographic copies to every living expert in the given field.

It is true that a few scholars, unusually versed in the literature of occultism and magic, found vague resemblances between some of the hieroglyphs and certain primal symbols described or cited in two or three very ancient, obscure, and esoteric texts such as the
Book of Eibon,
reputed to descend from forgotten Hyperborea; the Pnakotic fragments, alleged to be pre-human; and the monstrous and forbidden
Necronomicon
of the mad Arab Abdul Alhazred. None of these resemblances, however, was beyond dispute; and because of the prevailing low estimation of occult studies, no effort was made to circulate copies of the hieroglyphs among mystical specialists. Had such circulation occurred at this early date, the later history of the case might have been very different; indeed, a glance at the hieroglyphs by any reader of von Junzt’s horrible
Nameless Cults
would have established a linkage of unmistakable significance. At this period, however, the readers of that monstrous blasphemy were exceedingly few; copies having been incredibly scarce in the interval between the suppression of the original Düs-seldorf edition (1839) and of the Bridewell translation (1845) and the publication of the expurgated reprint by the Golden Goblin Press in 1909. Practically speaking, no occultist or student of the primal past’s esoteric lore had his attention called to the strange scroll until the recent outburst of sensational journalism which precipitated the horrible climax.

II.

Thus matters glided along for a half-century following the installation of the frightful mummy at the museum. The gruesome object had a local celebrity among cultivated Bostonians, but no more than that; while the very existence of the cylinder and scroll—after a decade of futile research—was virtually forgotten. So quiet and conservative was the Cabot Museum that no reporter or feature writer ever thought of invading its uneventful precincts for rabble-tickling material.

The invasion of ballyhoo commenced in the spring of 1931, when a purchase of somewhat spectacular nature—that of the strange objects and inexplicably preserved bodies found in crypts beneath the almost vanished and evilly famous ruins of Chateau Faussesflammes, in Averoigne, France—brought the museum prominently into the news columns. True to its “hustling” policy, the
Boston Pillar
sent a Sunday feature writer to cover the incident and pad it with an exaggerated general account of the institution itself; and this young man—Stuart Reynolds by name—hit upon the nameless mummy as a potential sensation far surpassing the recent acquisitions nominally forming his chief assignment. A smattering of theosophical lore, and a fondness for the speculations of such writers as Colonel Churchward and Lewis Spence concerning lost continents and primal forgotten civilisations, made Reynolds especially alert toward any aeonian relic like the unknown mummy.

At the museum the reporter made himself a nuisance through constant and not always intelligent questionings and endless demands for the movement of encased objects to permit photographs from unusual angles. In the basement library room he pored endlessly over the strange metal cylinder and its membraneous
scroll, photographing them from every angle and securing pictures of every bit of the weird hieroglyphed text. He likewise asked to see all books with any bearing whatever on the subject of primal cultures and sunken continents—sitting for three hours taking notes, and leaving only in order to hasten to Cambridge for a sight (if permission were granted) of the abhorred and forbidden
Necronomicon
at the Widener Library.

On April 5th the article appeared in the Sunday
Pillar,
smothered in photographs of mummy, cylinder, and hieroglyphed scroll, and couched in the peculiarly simpering, infantile style which the
Pillar
affects for the benefit of its vast and mentally immature clientele. Full of inaccuracies, exaggerations, and sensationalism, it was precisely the sort of thing to stir the brainless and fickle interest of the herd—and as a result the once quiet museum began to be swarmed with chattering and vacuously staring throngs such as its stately corridors had never known before.

There were scholarly and intelligent visitors, too, despite the puerility of the article—the pictures had spoken for themselves— and many persons of mature attainments sometimes see the
Pillar
by accident. I recall one very strange character who appeared during November—a dark, turbaned, and bushily bearded man with a laboured, unnatural voice, curiously expressionless face, clumsy hands covered with absurd white mittens, who gave a squalid West End address and called himself “Swami Chandraputra”. This fellow was unbelievably erudite in occult lore and seemed profoundly and solemnly moved by the resemblance of the hieroglyphs on the scroll to certain signs and symbols of a forgotten elder world about which he professed vast intuitive knowledge.

By June, the fame of the mummy and scroll had leaked far beyond Boston, and the museum had inquiries and requests for photographs from occultists and students of arcana all over the world. This was not altogether pleasing to our staff, since we are a scientific institution without sympathy for fantastic dreamers; yet we answered all questions with civility. One result of these catechisms was a highly learned article in
The Occult Review
by the famous New Orleans mystic Etienne-Laurent de Marigny, in which was asserted the complete identity of some of the odd geometrical designs on the iridescent cylinder, and of several of the hieroglyphs on the membraneous scroll, with certain ideographs of horrible significance (transcribed from primal monoliths or from the secret rituals of hidden bands of esoteric students and devotees) reproduced
in the hellish and suppressed
Black Book
or
Nameless Cults
of von Junzt.