could not leave if I wished. This morning I tried to go to the gate for my supplies, but found the briars twisted tightly in my path. It was the same in every direction–behind and on all sides of the house. In places the brown, barbed vines had uncurled to astonishing heights, forming a steel-like hedge against my egress. The villagers are connected with all this. When I went indoors I found my supplies in the great front hall, though without any clue to how they came there. I am sorry now that I swept the dust away. I shall scatter some more and see what prints are left.
This afternoon I read some of the books in the great shadowy library at the rear of the ground floor, and formed certain suspicions which I cannot bear to mention. I had never seen the text of the Pnakotic Manuscripts or of the Eltdown Shards before, and would not have come here had I known what they contain. I believe it is too late now–for the awful Sabbat is only ten days away. It is for that night of horror that they are saving me.
April 21
I have been studying the portraits again. Some have names attached, and I noticed one–of an evil-faced woman, painted some two centuries ago–which puzzled me. It bore the name of Trintje van der Heyl Sleght, and I have a distinct impression that I once met the name of Sleght before, in some significant connection. It was not horrible then, though it becomes so now. I must rack my brain for the clue.
The eyes of these pictures haunt me. Is it possible that some of them are emerging more distinctly from their shrouds of dust and decay and mold? The serpent-faced and swine-faced warlocks stare horribly at me from their blackened frames, and a score of other hybrid faces are beginning to peer out of shadowy backgrounds. There is a hideous look of family resemblance in them all, and that which is human is more horrible than that which is non-human. I wish they reminded me less of other faces–faces I have known in the past. They were an accursed line, and Cornelis of Leyden was the worst of them. It was he who broke down the barrier after his father had found that other key. I am sure that V knows only a fragment of the horrible truth, so that I am indeed unprepared and defenseless. What of the line before old Claes? What he did in 1591 could never have been done without generations of evil heritage, or some link with the outside. And what of the branches this monstrous line has sent forth? Are they scattered over the world, all awaiting their common heritage of horror? I must recall the place where I once so particularly noticed the name of Sleght.
I wish I could be sure that these pictures stay always in their frames. For several hours now I have been seeing momentary presences like the earlier paws and shadow-faces and forms, but closely duplicating some of the ancient portraits. Somehow I can never glimpse a presence and the portrait it resembles at the same time–the light is always wrong for one or the other, or else the presence and the portrait are in different rooms.
Perhaps, as I have hoped, the presences are mere figments of imagination, but I cannot be sure now. Some are female, and of the same hellish beauty as the picture in the little locked room. Some are like no portrait I have seen, yet make me feel that their painted features lurk unrecognized beneath the mold and soot of canvases I cannot decipher. A few, I desperately fear, have approached materialization in solid or semi-solid form–
