The Illustrated Complete Works of H.P. Lovecraft

of such overmantels as still remained; and was keenly excited after about an hour, when on a broad area above the fireplace in a spacious ground-floor room he became certain that the surface brought out by the peeling of several coats of paint was sensibly darker than any ordinary interior paint or the wood beneath it was likely to have been. A few more careful tests with a thin knife, and he knew that he had come upon an oil portrait of great extent. With truly scholarly restraint the youth did not risk the damage which an immediate attempt to uncover the hidden picture with the knife might have done, but just retired from the scene of his discovery to enlist expert help. In three days he returned with an artist of long experience, Mr. Walter C. Dwight, whose studio is near the foot of College Hill; and that accomplished restorer of paintings set to work at once with proper methods and chemical substances. Old Asa and his wife were duly excited over their strange visitors, and were properly reimbursed for this invasion of their domestic hearth.
    As day by day the work of restoration progressed, Charles Ward looked on with growing interest at the lines and shades gradually unveiled after their long oblivion. Dwight had begun at the bottom; hence since the picture was a three-quarter-length one, the face did not come out for some time. It was meanwhile seen that the subject was a spare, well-shaped man with dark-blue coat, embroidered waistcoat, black satin small-clothes, and white silk stockings, seated in a carved chair against the background of a window with wharves and ships beyond. When the head came out it was observed to bear a neat Albemarle wig, and to possess a thin, calm, undistinguished face which seemed somehow familiar to both Ward and the artist. Only at the very last, though, did the restorer and his client begin to gasp with astonishment at the details of that lean, pallid visage, and to recognise with a touch of awe the dramatic trick which heredity had played. For it took the final bath of oil and the final stroke of the delicate scraper to bring out fully the expression which centuries had hidden; and to confront the bewildered Charles Dexter Ward, dweller in the past, with his own living features in the countenance of his horrible great-great-great-grandfather.
    Ward brought his parents to see the marvel he had uncovered, and his father at once determined to purchase the picture despite its execution on stationary panelling. The resemblance to the boy, despite an appearance of rather greater age, was marvellous; and it could be seen that through some trick of atavism the physical contours of Joseph Curwen had found precise duplication after a century and a half. Mrs. Ward’s resemblance to her ancestor was not at all marked, though she could recall relatives who had some of the facial characteristics shared by her son and by the bygone Curwen. She did not relish the discovery, and told her husband that he had better burn the picture instead of bringing it home. There was, she averred, something unwholesome about it; not only intrinsically, but in its very resemblance to Charles. Mr. Ward, however, was a practical man of power and affairs—a cotton manufacturer with extensive mills at Riverpoint in the Pawtuxet Valley—and not one to listen to feminine scruples. The picture impressed him mightily with its likeness to his son, and he believed the boy deserved it as a present. In this opinion, it is needless to say, Charles most heartily concurred; and a few days later Mr. Ward located the owner of the house—a small rodent-featured person with a guttural accent—and obtained the whole mantel and overmantel bearing the picture at a curtly fixed priced which cut short the impending torrent of unctuous haggling.
    It now remained to take off the panelling and remove it to the Ward home, where provisions were made for its thorough restoration and installation with an electric mock-fireplace in Charles’s third-floor study or library. To Charles was left the task of superintending this removal, and on the twenty-eighth of August he accompanied two expert workmen from the Crooker decorating firm to the house in Olney Court, where the mantel and portrait-bearing overmantel were detached with great care and precision for transportation in the company’s motor truck. There was left a space of exposed brickwork marking the chimney’s course, and in this young Ward observed a cubical recess about a foot