At The Mountains Of Madness by H. P. Lovecraft

Author:H. P. Lovecraft [Lovecraft, H. P.]
Language: eng
Format: epub
Published: 2011-01-12T07:00:00+00:00

We cannot yet explain the engineering principles used in the anomalous balancing and adjustment of the vast rock masses, though the function of the arch was clearly much relied on. The rooms we visited were wholly bare of all portable contents, a circumstance which sustained our belief in the city’s deliberate desertion. The prime decorative feature was the almost universal system of mural sculpture, which tended to run in continuous horizontal bands three feet wide and arranged from floor to ceiling in alternation with bands of equal width given over to geometrical arabesques. There were exceptions to this rule of arrangement, but its preponderance was overwhelming. Often, however, a series of smooth car-touches containing oddly patterned groups of dots would be sunk along one of the arabesque bands.

The technique, we soon saw, was mature, accomplished, and aesthetically evolved to the highest degree of civilized mastery, though utterly alien in every detail to any known art tradition of the human race. In delicacy of execution no sculpture I have ever seen could approach it. The minutest details of elaborate vegetation, or of animal life, were rendered with astonishing vividness despite the bold scale of the carvings; whilst the conventional designs were marvels of skillful intricacy. The arabesques displayed a profound use of mathematical principles, and were made up of obscurely symmetrical curves and angles based on the quantity of five. The pictorial bands followed a highly formalized tradition, and involved a peculiar treatment of perspective, but had an artistic force that moved us profoundly, notwithstanding the intervening gulf of vast geologic periods. Their method of design hinged on a singular juxtaposition of the cross section with the two-dimensional silhouette, and embodied an analytical psychology beyond that of any known race of antiquity. It is useless to try to compare this art with any represented in our museums.

Those who see our photographs will probably find its closest analogue in certain grotesque conceptions of the most daring futurists.

The arabesque tracery consisted altogether of depressed lines, whose depth on unweathered walls varied from one to two inches. When cartouches with dot groups appeared - evidently as inscriptions in some unknown and primordial language and alphabet - the depression of the smooth surface was perhaps an inch and a half, and of the dots perhaps a half inch more. The pictorial bands were in countersunk low relief, their background being depressed about two inches from the original wall surface. In some specimens marks of a former coloration could be detected, though for the most part the untold aeons had disintegrated and banished any pigments which may have been applied. The more one studied the marvelous technique, the more one admired the things. Beneath their strict conventionalization one could grasp the minute and accurate observation and graphic skill of the artists; and indeed, the very conventions themselves served to symbolize and accentuate the real essence or vital differentiation of every object delineated. We felt, too, that besides these recognizable excellences there were others lurking beyond the reach of our perceptions.

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