and I ordered them to go pretty sharply. I was angry—and somewhat alarmed, too. But they merely grimaced and slavered, with that slow, twisting movement of their lips that is like a voiceless gibbering, and then they closed in on Marta, just as I represented them doing in that accursed group of sculpture. Only there were scores of them now, instead of merely seven.
"Ican't describe how it happened, but all at once their foul talons had reached the girl; they were pawing her, were pulling at her hands, her arms, her body. She screamed—and I hope I'll never hear another scream so full of black agony and soul-unhinging fright. Then I knew that she had yielded to them—either from choice, or from excess of terror—and knew that they were taking her away.
"For a moment, the studio wasn't there at all—only a long, gray, oozing plain, beneath skies where the fumes of hell were writhing like a million ghostly and distorted dragons. Marta was sinking into that ooze, and the Things were all about her, gathering in fresh hundreds from every side, fighting each other for place, sinking with her like bloated, misshaped fen-creatures into their native slime. Then everything vanished—and I was standing here in the studio, all alone with these damned sculptures."
He paused for a little, and stared with dreary, desolate eyes at the floor. Then:
"It was awful, Philip, and I'll never forgive myself for having anything to do with those monsters. I must have been a little mad, but I've always had a strong ambition to create some real stuff in the field of the grotesque and visionary and macabre. I don't suppose you ever suspected, back in my studgy phase, that I had a veritable appetence for such things. I wanted to do in sculpture what Poe and Lovecraft and Baudelaire have done in literature, what Rops and Goya did in pictorial art.
"That was what led me into the occult, when I realized my limitations. I knew that I had to see the dwellers of the invisible worlds before I could depict them. I wanted to do it. I longed for this power of vision and representation more than anything else. And then, all at once, I found that I had the power of summoning the unseen. . . .
"There was no magic involved, in the usual sense of the world—no spells and circles, no pentacles and burning gums from old sorcery books. At bottom, it was just will-power, I guess—a will to divine the satanic, to summon the innumerable malignities and grotesqueries that people other planes than ours, or mingle unperceived with humanity.
"You've no idea what I have beheld, Philip. These statues of mine—these devils, vampires, lamias, satyrs—were all done from life, or, at least from recent memory. The originals are what the occultists would call elementals, I suppose. There are endless worlds, contiguous to our own, or coexisting with it, that such beings inhabit. All the creations of myth and fantasy, all the familiar spirits that sorcerers have evoked, are resident in these worlds.
"I made myself their master, I levied upon them at will. Then, from a dimension that must be a little lower than all others, a little nearer the ultimate nadir of hell, I called the innominate beings who posed for this new figure-piece.
"I don't know what they are, but I have surmised a good deal. They are hateful as the worms of the Pit, they are malevolent as harpies, they drool with a poisonous hunger
