The Greatest Works of H. P. Lovecraft. H. P. Lovecraft

dropped almost as steeply as above, down to the old “Town Street” that the founders had laid out at the river’s edge in 1636. Here ran innumerable little lanes with leaning, huddled houses of immense antiquity; and fascinated though he was, it was long before he dared to thread their archaic verticality for fear they would turn out a dream or a gateway to unknown terrors. He found it much less formidable to continue along Benefit Street past the iron fence of St. John’s hidden churchyard and the rear of the 1761 Colony House and the mouldering bulk of the Golden Ball Inn where Washington stopped. At Meeting Street—the successive Gaol Lane and King Street of other periods—he would look upward to the east and see the arched flight of steps to which the highway had to resort in climbing the slope, and downward to the west, glimpsing the old brick colonial schoolhouse that smiles across the road at the ancient Sign of Shakespear’s Head where the Providence Gazette and Country-Journal was printed before the Revolution. Then came the exquisite First Baptist Church of 1775, luxurious with its matchless Gibbs steeple, and the Georgian roofs and cupolas hovering by. Here and to the southward the neighbourhood became better, flowering at last into a marvellous group of early mansions; but still the little ancient lanes led off down the precipice to the west, spectral in their many-gabled archaism and dipping to a riot of iridescent decay where the wicked old waterfront recalls its proud East India days amidst polyglot vice and squalor, rotting wharves, and blear-eyed ship-chandleries, with such surviving alley names as Packet, Bullion, Gold, Silver, Coin, Doubloon, Sovereign, Guilder, Dollar, Dime, and Cent.

      Sometimes, as he grew taller and more adventurous, young Ward would venture down into this maelstrom of tottering houses, broken transoms, tumbling steps, twisted balustrades, swarthy faces, and nameless odours; winding from South Main to South Water, searching out the docks where the bay and sound steamers still touched, and returning northward at this lower level past the steep-roofed 1816 warehouses and the broad square at the Great Bridge, where the 1773 Market House still stands firm on its ancient arches. In that square he would pause to drink in the bewildering beauty of the old town as it rises on its eastward bluff, decked with its two Georgian spires and crowned by the vast new Christian Science dome as London is crowned by St. Paul’s. He liked mostly to reach this point in the late afternoon, when the slanting sunlight touches the Market House and the ancient hill roofs and belfries with gold, and throws magic around the dreaming wharves where Providence Indiamen used to ride at anchor. After a long look he would grow almost dizzy with a poet’s love for the sight, and then he would scale the slope homeward in the dusk past the old white church and up the narrow precipitous ways where yellow gleams would begin to peep out in small-paned windows and through fanlights set high over double flights of steps with curious wrought-iron railings.

      At other times, and in later years, he would seek for vivid contrasts; spending half a walk in the crumbling colonial regions northwest of his home, where the hill drops to the lower eminence of Stampers’ Hill with its ghetto and negro quarter clustering round the place where the Boston stage coach used to start before the Revolution, and the other half in the gracious southerly realm about George, Benevolent, Power, and Williams Streets, where the old slope holds unchanged the fine estates and bits of walled garden and steep green lane in which so many fragrant memories linger. These rambles, together with the diligent studies which accompanied them, certainly account for a large amount of the antiquarian lore which at last crowded the modern world from Charles Ward’s mind; and illustrate the mental soil upon which fell, in that fateful winter of 1919–20, the seeds that came to such strange and terrible fruition.

      Dr. Willett is certain that, up to this ill-omened winter of first change, Charles Ward’s antiquarianism was free from every trace of the morbid. Graveyards held for him no particular attraction beyond their quaintness and historic value, and of anything like violence or savage instinct he was utterly devoid. Then, by insidious degrees, there appeared to develop a curious sequel to one of his genealogical triumphs of the year before; when he had discovered among his maternal ancestors a certain very long-lived man named Joseph Curwen, who had come from Salem in March of 1692, and about whom a whispered series of highly peculiar and disquieting stories clustered.

      Ward’s great-great-grandfather Welcome Potter had in 1785 married a certain “Ann Tillinghast, daughter of Mrs. Eliza, daughter to Capt. James Tillinghast”, of whose paternity the family had preserved no trace. Late in 1918, whilst examining a volume of original town records in manuscript, the young genealogist encountered an entry describing a legal change of name, by which in 1772 a Mrs. Eliza Curwen, widow of Joseph Curwen, resumed, along with her seven-year-old daughter Ann, her maiden name of Tillinghast; on the ground ‘that her Husband’s name was become a publick Reproach by Reason of what was knowne after his Decease; the which confirming an antient common Rumour, tho’ not to be credited by a loyall Wife till so proven as to be wholely past Doubting’. This entry came to light upon the accidental separation of two leaves which had been carefully pasted together and treated as one by a laboured revision of the page numbers.

      It was at once clear to Charles Ward that he had indeed discovered a hitherto unknown great-great-great-grandfather. The discovery doubly excited him because he had already heard vague reports and seen scattered allusions relating to this person; about whom there remained so few publicly available records, aside from those becoming public only in modern times, that it almost seemed as if a conspiracy had existed to blot him from memory. What did appear, moreover, was of such a singular and provocative nature that one could not fail to imagine curiously what it was that the colonial recorders were so anxious to conceal and forget; or to suspect that the deletion had reasons all too valid.

      Before this, Ward had been content to let his romancing about old Joseph Curwen remain in the idle stage; but having discovered his own relationship to this apparently “hushed-up” character, he proceeded to hunt out as systematically as possible whatever he might find concerning him. In this excited quest he eventually succeeded beyond his highest expectations; for old letters, diaries, and sheaves of unpublished memoirs in cobwebbed Providence garrets and elsewhere yielded many illuminating passages which their writers had not thought it worth their while to destroy. One important sidelight came from a point as remote as New York, where some Rhode Island colonial correspondence was stored in the Museum at Fraunces’ Tavern. The really crucial thing, though, and what in Dr. Willett’s opinion formed the definite source of Ward’s undoing, was the matter found in August 1919 behind the panelling of the crumbling house in Olney Court. It was that, beyond a doubt, which opened up those black vistas whose end was deeper than the pit.

      II. An Antecedent and a Horror

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      Joseph Curwen, as revealed by the rambling legends embodied in what Ward heard and unearthed, was a very astonishing, enigmatic, and obscurely horrible individual. He had fled from Salem to Providence—that universal haven of the odd, the free, and the dissenting—at the beginning of the great witchcraft panic; being in fear of accusation because of his solitary ways and queer chemical or alchemical experiments. He was a colourless-looking man of about thirty, and was soon found qualified to become a freeman of Providence; thereafter buying a home lot just north of Gregory Dexter’s at about the foot of Olney Street. His house was built on Stampers’ Hill west of the Town Street, in what later became Olney Court; and in 1761 he replaced this with a larger one, on the same site, which is still standing.

      Now the first odd thing about Joseph Curwen was that he did not seem to grow much older than he had been on his arrival. He engaged in shipping enterprises, purchased wharfage near Mile-End Cove, helped rebuild the Great Bridge in 1713, and in 1723 was one of the founders of the Congregational Church on the hill; but always did he retain the nondescript aspect of a man not greatly over thirty or thirty-five. As decades mounted up, this singular quality began to excite wide notice; but Curwen always explained it by saying that he came of hardy forefathers, and practiced a simplicity of living which did not wear him out. How such simplicity