The Collected Works of H. P. Lovecraft. H. P. Lovecraft
marking the former end of an aerial bridge which had spanned an alley about five feet above the present level of glaciation. These archways, of course, were flush with upper-story floors, and in this case one of the floors still existed. The building thus accessible was a series of rectangular terraces on our left facing westward. That across the alley, where the other archway yawned, was a decrepit cylinder with no windows and with a curious bulge about ten feet above the aperture. It was totally dark inside, and the archway seemed to open on a well of illimitable emptiness.
Heaped debris made the entrance to the vast left-hand building doubly easy, yet for a moment we hesitated before taking advantage of the long-wished chance. For though we had penetrated into this tangle of archaic mystery, it required fresh resolution to carry us actually inside a complete and surviving building of a fabulous elder world whose nature was becoming more and more hideously plain to us. In the end, however, we made the plunge, and scrambled up over the rubble into the gaping embrasure. The floor beyond was of great slate slabs, and seemed to form the outlet of a long, high corridor with sculptured walls.
Observing the many inner archways which led off from it, and realizing the probable complexity of the nest of apartments within, we decided that we must begin our system of hare-and-hound trail blazing. Hitherto our compasses, together with frequent glimpses of the vast mountain range between the towers in our rear, had been enough to prevent our losing our way; but from now on, the artificial substitute would be necessary. Accordingly we reduced our extra paper to shreds of suitable size, placed these in a bag to be carried by Danforth, and prepared to use them as economically as safety would allow. This method would probably gain us immunity from straying, since there did not appear to be any strong air currents inside the primordial masonry. If such should develop, or if our paper supply should give out, we could of course fall back on the more secure though more tedious and retarding method of rock chipping.
Just how extensive a territory we had opened up, it was impossible to guess without a trial. The close and frequent connection of the different buildings made it likely that we might cross from one to another on bridges underneath the ice, except where impeded by local collapses and geologic rifts, for very little glaciation seemed to have entered the massive constructions. Almost all the areas of transparent ice had revealed the submerged windows as tightly shuttered, as if the town had been left in that uniform state until the glacial sheet came to crystallize the lower part for all succeeding time. Indeed, one gained a curious impression that this place had been deliberately closed and deserted in some dim, bygone aeon, rather than overwhelmed by any sudden calamity or even gradual decay. Had the coming of the ice been foreseen, and had a nameless population left en masse to seek a less doomed abode? The precise physiographic conditions attending the formation of the ice sheet at this point would have to wait for later solution. It had not, very plainly, been a grinding drive. Perhaps the pressure of accumulated snows had been responsible, and perhaps some flood from the river, or from the bursting of some ancient glacial dam in the great range, had helped to create the special state now observable. Imagination could conceive almost anything in connection with this place.
Chapter VI
It would be cumbrous to give a detailed, consecutive account of our wanderings inside that cavernous, aeon-dead honeycomb of primal masonry— that monstrous lair of elder secrets which now echoed for the first time, after uncounted epochs, to the tread of human feet. This is especially true because so much of the horrible drama and revelation came from a mere study of the omnipresent mural carvings. Our flashlight photographs of those carvings will do much toward proving the truth of what we are now disclosing, and it is lamentable that we had not a larger film supply with us. As it was, we made crude notebook sketches of certain salient features after all our films were used up.
The building which we had entered was one of great size and elaborateness, and gave us an impressive notion of the architecture of that nameless geologic past. The inner partitions were less massive than the outer walls, but on the lower levels were excellently preserved. Labyrinthine complexity, involving curiously irregular difference in floor levels, characterized the entire arrangement; and we should certainly have been lost at the very outset but for the trail of torn paper left behind us. We decided to explore the more decrepit upper parts first of all, hence climbed aloft in the maze for a distance of some one hundred feet, to where the topmost tier of chambers yawned snowily and ruinously open to the polar sky. Ascent was effected over the steep, transversely ribbed stone ramps or inclined planes which everywhere served in lieu of stairs. The rooms we encountered were of all imaginable shapes and proportions, ranging from five-pointed stars to triangles and perfect cubes. It might be safe to say that their general average was about 30 x 30 feet in floor area, and 20 feet in height, though many larger apartments existed. After thoroughly examining the upper regions and the glacial level, we descended, story by story, into the submerged part, where indeed we soon saw we were in a continuous maze of connected chambers and passages probably leading over unlimited areas outside this particular building. The Cyclopean massiveness and gigantism of everything about us became curiously oppressive; and there was something vaguely but deeply unhuman in all the contours, dimensions, proportions, decorations, and constructional nuances of the blasphemously archaic stonework. We soon realized, from what the carvings revealed, that this monstrous city was many million years old.
We cannot yet explain the engineering principles used in the anomalous balancing and adjustment of the vast rock masses, though the function of the arch was clearly much relied on. The rooms we visited were wholly bare of all portable contents, a circumstance which sustained our belief in the city's deliberate desertion. The prime decorative feature was the almost universal system of mural sculpture, which tended to run in continuous horizontal bands three feet wide and arranged from floor to ceiling in alternation with bands of equal width given over to geometrical arabesques. There were exceptions to this rule of arrangement, but its preponderance was overwhelming. Often, however, a series of smooth cartouches containing oddly patterned groups of dots would be sunk along one of the arabesque bands.
The technique, we soon saw, was mature, accomplished, and aesthetically evolved to the highest degree of civilized mastery, though utterly alien in every detail to any known art tradition of the human race. In delicacy of execution no sculpture I have ever seen could approach it. The minutest details of elaborate vegetation, or of animal life, were rendered with astonishing vividness despite the bold scale of the carvings; whilst the conventional designs were marvels of skillful intricacy. The arabesques displayed a profound use of mathematical principles, and were made up of obscurely symmetrical curves and angles based on the quantity of five. The pictorial bands followed a highly formalized tradition, and involved a peculiar treatment of perspective, but had an artistic force that moved us profoundly, notwithstanding the intervening gulf of vast geologic periods. Their method of design hinged on a singular juxtaposition of the cross section with the two-dimensional silhouette, and embodied an analytical psychology beyond that of any known race of antiquity. It is useless to try to compare this art with any represented in our museums. Those who see our photographs will probably find its closest analogue in certain grotesque conceptions of the most daring futurists.
The arabesque tracery consisted altogether of depressed lines, whose depth on unweathered walls varied from one to two inches. When cartouches with dot groups appeared—evidently as inscriptions in some unknown and primordial language and alphabet—the depression of the smooth surface was perhaps an inch and a half, and of the dots perhaps a half inch more. The pictorial bands were in countersunk low relief, their background being depressed about two inches from the original wall surface. In some specimens marks of a former coloration could be detected, though for the most part the untold aeons had disintegrated and banished any pigments which may have been applied. The more one studied the marvelous technique, the more one admired the things. Beneath their strict conventionalization one could grasp the minute and accurate observation and graphic skill of the artists; and indeed, the very conventions themselves served to symbolize and accentuate the real essence or vital differentiation of every object delineated. We felt, too, that besides these recognizable excellences there were others lurking beyond the reach of our perceptions. Certain touches here and