ambitious but unfinished group of figures, which occupied the center of the long room. All around were other sculptures, in clay, bronze, marble, and even the terra-cotta and steatite which he sometimes employed for his less conventional conceptions. At one end of the room there stood a heavy Chinese screen.
At a single glance I realized that a great change had occurred, both in Cyprian Sincaul and his work. I remembered him as an amiable, somewhat flabby-looking youth, always dapperly dressed, with no trace of the dreamer or visionary. It was hard to recognize him new, for he had become lean, harsh, vehement, with an air of pride and penetration that was almost Luciferian. His unkempt mane of hair was already shot with white, and his eyes were electrically brilliant with a strange knowledge, and yet somehow were vaguely furtive, as if there dwelt behind them a morbid and macabre fear.
The change in his sculpture was no less striking. The respectable tameness and polished mediocrity were gone, and in their place, incredibly, was something little short of genius. More unbelievable still, in view of the laboriously ordinary grotesques of his earlier phase, was the trend that his art had now taken. All around me were frenetic, murderous demons, satyrs mad with nympholepsy, ghouls that seemed to sniff the odors of the charnel, lamias voluptuously coiled about their victims, and less namable things that belonged to the outland realms of evil myth and malign superstition.
Sin, horror, blasphemy, diablerie—the lust and malice of pandemonium—all had been caught with impeccable art. The potent nightmarishness of these creations was not calculated to reassure my trembling nerves; and all at once I felt an imperative desire to escape from the studio, to flee from the baleful throng of frozen cacodemons and chiseled chimeras.
My expression must have betrayed my feelings to some extent.
"Pretty strong work, aren't they?" said Cyprian, in a loud, vibrant voice, with a note of harsh pride and triumph. "I can see that you are surprised—you didn't look for anything of the sort, I dare say."
"No, candidly, I didn't," I admitted. "Good Lord, man, you will become the Michelangelo of diabolism if you go on at this rate. Where on earth do you get such stuff?"
"Yes, I've gone pretty far," said Cyprian, seeming to disregard my question. "Further even than you think, probably. If you could know what I know, could see what I have seen, you might make something really worth-while out of your weird fiction, Philip. You are very clever and imaginative, of course. But you've never had any experience."
I was startled and puzzled. "Experience? What do you mean?"
"Precisely that. You try to depict the occult and the supernatural without even the most rudimentary first-hand knowledge of them. I tried to do something of the same sort in sculpture, years ago, without knowledge; and doubtless you recall the mediocre mess that I made of it. But I've learned a thing or two since then."
"Sounds as if you had made the traditional bond with the devil, or something of that sort," I observed, with a feeble and perfunctory levity.
Cyprian's eyes narrowed slightly, with a strange, secret look.
"I know what I know. Never mind how or why. The world in which we live isn't the only world; and some of the others lie closer at
