open to disclose a dim, torch-lighted entrance. Gorat rose and Led the way, we following with those confounded spears pricking our backs.
"We mounted a flight of stairs and came onto a series of galleries built on the inside of each tier and winding around and up. Looking up, it seemed much higher and bigger than it had seemed from without, and the vague, half-lighted gloom, the silence and the mystery gave me the shudders. Conrad's face gleamed white in the semi-darkness. The shadows of past ages crowded in upon us, chaotic and horrific, and I felt as though the ghosts of all the priests and victims who had walked those galleries for four thousand years were keeping pace with us. The vast wings of dark, forgotten gods hovered over that hideous pile of antiquity.
"We came out on the highest tier. There were three circles of tall columns, one inside the other—and I want to say that for columns built of sun-dried brick, these were curiously symmetrical. But there was none of the grace and open beauty of, say, Greek architecture. This was grim, sullen, monstrous—something like the Egyptian, not quite so massive but even more formidable in starkness—an architecture symbolizing an age when men Were still in the dawn-shadows of Creation and dreamed of monstrous gods.
"Over the inner circle of columns was a curving roof—almost a dome. How they built it, or how they came to anticipate the Roman builders by so many ages, I can't say, for it was a startling departure from the rest of their architectural style, but there it was. And from this domelike roof hung a great round shining thing that caught the starlight in a silver net. I knew then what we had been following for so many mad miles! It was a great gong—the voice of El-lil. It looked like jade but I'm not sure to this day. But whatever it was, it was the symbol on which the faith and cult of the Sumerians hung—the symbol of the godhead itself. And I know Naluna was right when she told us that her ancestors brought it with them on that long, gruelling trek, ages ago, when they fled before Sargon's wild riders; And how many eons before that dim time must it have hung in El-lil's temple in Nippur, Erech or Old Eridu, booming out its mellow threat or promise over the dreamy valley of the Euphrates, or across the green foam of the Persian Gulf!
"They stood us just within the first ring of columns, and out of the shadows somewhere, looking like a shadow from the past himself, came old Sostoras, the priest-king of Eridu. He was clad in a long robe of green, covered with scales like a snake's hide, and it rippled and shimmered with every step he took. On his head he wore a head-piece of waving plumes and in his hand he held a long-shafted golden mallet.
"He tapped the gong lightly and golden waves of sound flowed over us like a wave, suffocating us in its exotic sweetness. And then Naluna came. I never knew if she came from behind the columns or up through some trap floor. One instant the space before the gong was bare, the next she was dancing like a moonbeam on a pool. She was clad in some light, shimmery stuff that barely veiled her sinuous body and lithe limbs. And she danced before Sostoras and the Voice of El-lil as women of her breed had danced in old Sumer four thousand years ago.
"I can't begin to describe that dance. It made me freeze and tremble and burn inside. I heard Conrad's breath come in gasps and he shivered like a reed in the wind. From somewhere sounded music, that was old when Babylon was young, music as elemental as the fire in a tigress's
