,
[66] dreams hidden and untouched. It was not connected to the European witch-cult, and was virtually unknown beyond its members. No book had ever mentioned it, though the deathless Chinamen said that there were double meanings in the
Necronomicon of the mad arab Abdul Alhazred[67] which the initiated might read, especially the this couplet:
“That is not dead which can eternal lie,
[68] And with strange ages even death may die.”
Legrasse, deeply impressed, had inquired about the historic affiliations of the cult. Castro, apparently, had told the truth when he said that it was wholly secret. The authorities at Tulane University[69] could say nothing about either cult or image, and now the detective had come to the highest authorities in the country and met with the Greenland tale of Professor Webb.
The great interest aroused at the meeting by Legrasse’s tale is echoed in the correspondence of those who attended; although it was not mentioned in the formal publications of the society. Caution is the first care of scientists who often face charlatanry and imposture. Legrasse lent the image to Professor Webb. When Professor had died, it was returned to him. I viewed it not long ago. It is truly a terrible thing, and akin to the dream-sculpture of young Wilcox.
I did not wonder that my uncle was excited by the tale of the sculptor. Professor Angell started an investigation immediately; though privately I suspected young Wilcox of trickery. He could invent a series of dreams to heighten and continue the mystery. So, after thoroughly studying the manuscript again and correlating the theosophical and anthropological notes with the cult narrative of Legrasse, I made a trip to Providence to see the sculptor and accuse him of imposing upon a learned and aged man.
Wilcox still lived alone in the Fleur-de-Lys Building in Thomas Street, a hideous Victorian imitation of 17th century Breton Architecture.[70] I found him at work in his rooms, and understood at once that his genius is indeed profound and authentic. I believe one day he will be well-known as one of the great decadents; for he has crystallised in clay and in marble those nightmares and phantasies which Arthur Machen[71] evokes in prose, and Clark Ashton Smith[72] makes visible in verse and in painting.