II
Thus, time spent in relatively peaceful during the fifty years following the installation of the frightful mummy at the museum. Horrible creature gained some local fame among cultivated people of Boston, but nothing more. As regards the cylinder and the roll, after unsuccessful studies, the case fell into oblivion materially. So calm and conservative was the Cabot Museum that no journalist or writer never occurred to him invade their peaceful precincts in search of issues that are astounding.
journalistic invasion began in the spring of 1931, when a purchase rather spectacular nature of certain objects, the strange and inexplicably a well-preserved bodies, which were discovered in a crypt beneath the ruins of Château infamous of Faussesflammes in Averoigne, France, put the museum in the first columns of the press. True to his rule "bungle" things, the Pillar Boston sent a columnist for the Sunday edition with a mission to address the swell event and provide information to the museum. And this young man named Stuart Reynolds, unnamed mummy found in a powerful incentive, which is well above the recent acquisitions were the main reason for your visit. Reynolds had a superficial knowledge of theosophy and was fond of speculation of a kind of Colonel Churchward and Lewis Spence on lost continents and civilizations forgotten what made him particularly sensitive to any relic extremely remote, as the aforementioned mummy of unknown origin.
At the museum, the journalist became unbearable with constant and not always intelligent questions, and their endless pleas to the exhibits were run to allow photographers working from awkward angles currents. In the library hall tirelessly searched the strange metal cylinder and the roll of parchment, took pictures in every way and took the plates of each piece of this fantastic text. Also asked to consult all the books that would make any reference to primitive cultures and continents submerged ... It was more than three hours taking notes until, finally, closed his notebook and went directly to Cambridge to take a look (if getting a permit) to the forbidden Necronomicon of the Widener Library.
April 5 The article appeared in the Sunday edition of Pillar, literalmente ahogado entre fotografías de la momia, del cilindro y de los jeroglíficos del rollo; el texto estaba redactado en ese estilo característico, simple y pueril, que adopta el Pillar para beneficio de su enorme y mentalmente inmadura clientela. Plagado de inexactitudes, de exageraciones y de sensacionalismo, resultó ser exactamente la clase de noticia que excita a los insensatos y atrae la atención de las multitudes. La consecuencia fue que el museo, de sosegada vida hasta entonces, comenzó a llenarse de una muchedumbre parlanchina y fisgona que nunca habían conocido sus majestuosos corredores.
A pesar de la puerilidad del artículo, tuvimos también Visitors high intellectual level, and that the photos spoke for themselves, with people of great culture that undoubtedly had read the story by chance. I remember in this connection that, in November, there appeared a strange character. It was a dark man in a turban, his face expressionless, rough beard and hands encased in white mittens absurd. His voice sounded hollow and artificial. He gave his address in West End laconic and called himself Swami Chandraputra. This guy was surprisingly well versed in occult sciences and seemed deeply impressed by the similarities he claimed to have discovered among the hieroglyphs of the roll and certain signs and symbols a former world, about which he had extensive knowledge.
By June, the fame of the mummy and the roll was extended far beyond Boston, and the museum staff had to endure questioning and requests for permission to take photographs, by a hive of occult and mystery lovers come from around the world. All this was not exactly nice to our staff because we had a scientific institution, without sympathy for dreamers and fantasists. However,'d say to all the questions with the utmost courtesy. One result of these interviews was another article which appeared in The Occult Review, this time signed by the famous mystic of New Orleans, Etienne-Laurent de Marigny, in which it stated the complete identity between some of the hieroglyphs of the film and some characters of horrible meaning (copied from primary monocytes or secret societies rituals of fans and initiates esoteric), contained in the infernal Black Book or Nameless Cults von Junzt. De Marigny recalled the gruesome death of von Junzt, which occurred in 1840, a year after the publication of his terrible book in Dusseldorf, and commented on the horrific and somewhat suspicious of his knowledge sources. Particularly stressed the enormous interest they had, for case, certain accounts of von Junzt on the tremendous ideograms that he reproduced in his book. I could not deny that these stories, in which specifically cited a cylinder and a roll, suggested at least some affinity with museum objects. Still, were of such extravagance, since they account for enormous periods of time and great anomalies of a former world-that it felt much more inclined to admire than to believe them.
admire, indeed, the audience admired, because the spirit of imitation, in the press, is universal. Everywhere illustrated articles appeared in the spoken the stories of the Black Book, they are connected to the horror of the mummy, comparing the drawings of the cylinder and the hieroglyphs of the roll with the figures reproduced by von Junzt, and all of them ventured wildest theories and shocking. The museum's attendance has tripled, and this growing interest we saw confirmed daily by the numerous letters, superfluous, pointless in most cases, that on this subject was received in the museum. Obviously, the mummy and its origin, for the public imagination, were the most exciting topic of the years 1931 and 1932. As regards myself the main effect of this anger was to make me read the book of von monster Junzt in the Golden Goblin edition ... Your perusal left me confused and disgusted, and even I was happy not to have handled the full text in its original edition.
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