I

The true madness, he is certain, came with a later change; after the Curwen portrait and the ancient papers had been unearthed; after a trip to strange foreign places had been made, and some terrible invocations chanted under strange and secret circumstances; after certain answers to these invocations had been plainly indicated, and a frantic letter penned under agonizing and inexplicable conditions; after the wave of vampirism and the ominous Pawtuxet gossip; and after the patient’s memory commenced to exclude contemporary images whilst his voice failed and his physical aspect underwent the subtle modification so many subsequently noticed.

It was only about this time, Willett points out with much acuteness, that the nightmare qualities became indubitably linked with Ward, and the doctor feels shudderingly sure that enough solid evidence exists to sustain the youth’s claim regarding his crucial discovery. There were the mysteries and coincidences of the Orne and Hutchinson letters, and the problem of the Curwen penmanship and of what the detectives brought to light about Dr. Allen; these things, and the terrible message in medieval minuscules found in Willett’s pocket when he gained consciousness after his shocking experience.

And most conclusive of all, there are the two hideous results which the doctor obtained from a certain pair of formulae during his final investigations; results which virtually proved the authenticity of the papers and of their monstrous implications at the same time that those papers were borne forever from human knowledge.

One must look back at Charles Ward’s earlier life as at something belonging as much to the past as the antiquities he loved so keenly.

His home was a great Georgian mansion atop the well-nigh precipitous hill that rises just east of the river, and from the rear windows of its rambling wings he could look dizzily out over all the clustered spires,