General Report on the Cathedral There are only two known entrances to the Cathedral under central park. The first and most direct is through Belvedere Castle in central park. This consists of a narrow and winding staircase with an approximate net horizontal displacement of 500m and a net vertical displacement of 100m. This entrance opens into the stone garden room of the Cathedral via a hidden door. Belvedere Castle, and all of central park, is guarded by the werewolves. The other entrance is less direct but far safer. This can be accessed through the sewers of the upper west side. From the sewers one moves through a series of chambers, likely old living quarters of the Nosferatu. From these rooms one can enter a large tunnel system previously inhabited by the vampiric beast of unknown origins that the subjects destroyed. This tunnel system proceeds for approximately 10km through 270 degrees of a circle. See the figure below for a detail of the entrance to the tunnels and see Reference Document 1394 for exact directions to the Cathedral from the surface. The tunnel opens up into a large natural chamber perhaps fifty feet high and half again as long. This chamber is almost entirely covered with a strange slightly reflective slimy substance. At the far end, doors carved directly into the solid rock rose thirty feet, decorated with inlaid ivory and silver. Scenes from the Old Testament are depicted, including the casting out of Adam and Eve and the first of the Ten Plagues. At the touch of the Nathaniel, the doors swung outward and the group slowly stepped inside. Upon entering the doors one enters the nave. The roof is a great vaulted arch of stone approximately fifty feet high. The nave is perhaps a hundred feet or more long. At its eastern end are the main doors exiting to the tunnel and to the west is an altar. On each side of the nave are six small alcoves with arched entryways separating them from the main room. These alcoves were empty when the cathedral was first observed, but when it was observed a second time three of the alcoves had a single item in them (descriptions below). Many of the wooden pews have been broken and strewn about the room. A layer of slime, quite similar to that encountered outside the cathedral, also covers the nave. While most of the nave is covered in this layer of slime and debris, an area perhaps ten feet in radius does not approach the altar. The stone altar is largely undecorated, seeming to be simply a large mass of stone. The alter is marked with a small set of grooves across its top surface. When the vampire Nathaniel was killed on the altar the grooves channeled his blood and seemed to absorb it. On the front face of the altar is the strange symbol that has also been seen on Hannah's book. The symbol depicts seven signs enclosed within a circle, six surrounding the seventh which is also a simple circle. This sign also appears on the rose window above the door to the tunnels. The rose window over the doors, as stated, bears the same symbol as is seen on the altar. The rose window is not, curiously enough, visible from outside the cathedral even though it should be part of the facade of the structure, over the main doors. There are twelve additional windows, six on a side, above each of the alcoves of the nave. When Nathaniel was slain by his companion Ari on the altar the windows immediately began to radiate sunlight, as if the sun were above and slightly to the north of the cathedral. Curiously enough this light did no harm to the various vampires present in the nave. The following is a rough schematic of the symbol on the rose window, the altar, and Hannah's book. The fragment of parchment retrieved from Radu's haven matches a portion of the symbol. This fragment also features an Aramaic inscription as well as one in a code that has not yet been deciphered. As described above the symbol on the rose window and the altar actually consists of six symbols in a ring around an empty circle in the center. Beginning from the top and proceeding clockwise, the first symbol (a diamond with a hole in it) means "religion"; the second means "creation"; the third, "nature"; the fourth, "mysticism"; the fifth, "control"; and the sixth and final symbol means "science". Of course, I doubt the literal meanings are intended. For example, the symbol meaning "nature" can be used to mean any growing, generative force, while the symbol opposite it, that of "control", means anything that turns force into set patterns. The other windows are now described in detail, starting from the furthest east, nearest the door, and working west towards the altar. On the left wall, a human wearing an elaborate wolf mask, holding it up to his face. In the alcove underneath this window a water-carved rock sculpture of an animal was found after the subject's second visit. On the right wall, a wolf holding a human mask before its face in its coarse paws. Both bodies are obscured by forest foliage. On the left wall, a person in white robes stepping from the earth into the clouds as sunlight streams around them. They are turned away from the viewer; as in all the other windows, their face is not visible, and their form does not reveal if they are male or female. On the right wall, a red-haired person in black robes stepping from a grave onto the earth. On the left wall, a person juggling three small globes colored as the world (three different views, so all the continents are visible), with their head tilted back so their face is not visible. They are dressed in patched and ragged clothing. On the right wall, a person in ragged clothing sits cross-legged with a giant globe in their lap, contemplating it with their head tilted forward. In the altar underneath this window a candelabra with seven candles was found on the subject's second visit. On the left wall, a knight in full armor, holding a sword in both hands with the point in the ground. Their armor bears no device. On the right wall, a person in the same pose as the knight, but wrapped in a dark and rich velvet cloak. They hold a staff instead of a sword, but mail can be seen glinting on their hands and in the shadows of their hood. On the left wall, a person sitting alone on a hill, facing away from the viewer. They have a book open on their lap and overlook a busy and bustling town. They seem to be wearing a tunic of some sort. On the right wall, a person sitting alone and looking into a mirror with a book open on the table in front of them. Where their face would be reflected in the mirror, a skull is seen instead. The final pair of windows is closest to the altar. On the left wall, a person wrapped in rose vines so they cannot be clearly seen. A vine has grown into their eyes, and their mouth is open in a scream of agony or ecstasy. In the altar underneath this window a golden statue of Apollo was found on the second visit. On the right wall, a shadowy figure wrapped in dark robes. Only their left hand is clearly visible, in which they hold a skull with a dead rose in its eye socket. Besides the main doors there are four exits from the nave. Each of these doors is made of thick oak, banded with ironwork and is approximately six feet tall and two and a half wide. The southwest door opens onto a long flight of spiral stairs opening into a columbarium much like the one below Radu's haven. Most of the niches on the walls are empty, but many contain small and lovely jars which seemed to be filled with ash. One wall, however, has full-length niches in it, sufficiently long to hold a person. The lower six of these had figures in them and Nathaniel was left with these figures. After the subject's return Nathaniel's body was found to have moved and replaced by a stone stature of him. The northwest door also leads down stairs to a small room containing a huge keyboard for an elaborate organ whose pipes hang behind the altar. A metal utility door leads down more stairs into a dusty basement holding crates and the like, but the subjects chose to not to descend. The south door leads into a large garden, each of whose flowers appeared to be carved from stone. Even the slight breeze of the subject's passage caused the petals to bob and turn independently. It is a remarkable feat of craftsmanship and design! A small stream poured through the garden and into a reflecting pool at the bottom. The subjects briefly discussed the reflections they saw in the pool. Ethan saw his compainion Hannah. Ari saw his grandfather. Parker saw his father. Cliff saw his grandsire Julia. The north door leads into a large set of galleries full of various forms of art: original paintings, sculptures, manuscripts and the like. Each of the subjects took a book with them: Parker chose a Gutenberg Bible, Ethan a First Folio of Hamlet, and Ari a book of the Zohar. The galleries also displayed a fine collection of scientific instruments (where Parker stole an astrolabe), a similarly fine one of arms and armor, an enormous orrery whose planets were fitted out as jewels, and a room devoted entirely to the sense of smell. Strange and wondrous though the objects were, there seems to be nothing there that was created later than fifty years ago: I can only assume that the Sabbat did not have access to this cathedral or else they surely would have either added to the works here, looted it, or simply destroyed what they found. Perhaps the beast in the tunnels guarded this place from them? But then who or what set it here? It certainly seemed incapable of making its own decisions. And who destroyed the main part of the cathedral, while leaving the far richer things here untouched? Transcribed and maintained Elizabeth Kent