“Why, man, out of ten surviving houses built before 1700 and not moved since I’ll wager that in eight I can shew you something queer in the cellar. There’s hardly a month that you don’t read of workmen finding bricked-up arches and wells leading nowhere in this or that old place as it comes down — you could see one near Henchman Street from the elevated last year. There were witches and what their spells summoned; pirates and what they brought in from the sea; smugglers; privateers — and I tell you, people knew how to live, and how to enlarge the bounds of life, in the old times! This wasn’t the only world a bold and wise man could know — faugh! And to think of today in contrast, with such pale-pink brains that even a club of supposed artists gets shudders and convulsions if a picture goes beyond the feelings of a Beacon Street tea-table!
“The only saving grace of the present is that it’s too damned stupid to question the past very closely. What do maps and records and guide-books really tell of the North End? Bah! At a guess I’ll guarantee to lead you to thirty or forty alleys and networks of alleys north of Prince Street that aren’t suspected by ten living beings outside of the foreigners that swarm them. And what do those Dagoes know of their meaning? No, Thurber, these ancient places are dreaming gorgeously and overflowing with wonder and terror and escapes from the commonplace, and yet there’s not a living soul to understand or profit by them. Or rather, there’s only one living soul — for I haven’t been digging around in the past for nothing!
“See here, you’re interested in this sort of thing. What if I told you that I’ve got another studio up there, where I can catch the night-spirit of antique horror and paint things that I couldn’t even think of in Newbury Street? Naturally I don’t tell those cursed old maids at the club — with Reid, damn him, whispering even as it is that I’m a sort of monster bound down the toboggan of reverse evolution. Yes, Thurber, I decided long ago that one must paint terror as well as beauty from life, so I did some exploring in places where I had reason to know terror lives.
“I’ve got a place that I don’t believe three living Nordic men besides myself have ever seen. It isn’t so very far from the elevated as distance goes, but it’s centuries away as the soul goes. I took it because of the queer old brick well in the cellar — one of the sort I told you about. The shack’s almost tumbling down, so that nobody else would live there, and I’d hate to tell you how little I pay for it. The windows are boarded up, but I like that all the better, since I don’t want daylight for what I do. I paint in the cellar, where the inspiration is thickest, but I’ve other rooms furnished on the ground floor. A Sicilian owns it, and I’ve hired it under the name of Peters.
“Now if you’re game, I’ll take you there tonight. I think you’d enjoy the pictures, for as I said, I’ve let myself go a bit there. It’s no vast tour — I sometimes do it on foot, for I don’t want to attract attention with a taxi in such a place. We can take the shuttle at the South Station for Battery Street, and after that the walk isn’t much.”
Well, Eliot, there wasn’t much for me to do after that harangue but to keep myself from running instead of walking for the first vacant cab we could sight. We changed to the elevated at the South Station, and at about twelve o’clock had climbed down the steps at Battery Street and struck along the old waterfront past Constitution Wharf. I didn’t keep track of the cross streets, and can’t tell you yet which it was we turned up, but I know it wasn’t Greenough Lane.
When we did turn, it was to climb through the deserted length of the oldest and dirtiest alley I ever saw in my life, with crumbling-looking gables, broken small-paned windows, and archaic chimneys that stood out half-disintegrated against the moonlit sky. I don’t believe there were three houses in sight that hadn’t been standing in Cotton Mather’s time — certainly I glimpsed at least two with an overhang, and once I thought I saw a peaked roof-line of the almost forgotten pre-gambrel type, though antiquarians tell us there are none left in Boston.
From that alley, which had a dim light, we turned to the left into an equally silent and still narrower alley with no light at all; and in a minute made what I think was an obtuse-angled bend toward the right in the dark. Not long after this Pickman produced a flashlight and revealed an antediluvian ten-panelled door that looked damnably worm-eaten. Unlocking it, he ushered me into a barren hallway with what was once splendid dark-oak panelling — simple, of course, but thrillingly suggestive of the times of Andros and Phipps and the Witchcraft. Then he took me through a door on the left, lighted an oil lamp, and told me to make myself at home.