SCP-3013 was first discovered by the Foundation in 20 , in the 
ruins of Hall, a country manor in Norfolk, England. It is 
believed that a recent burglary had seen the painting currently in 
SCP-3013 removed, prompting the activation of an SCP-3013-2 
event, resulting in the destruction of Hall and several 
earthquakes registering above 8 on the Richter Scale. Hall 
had been abandoned since 197 , when its previous occupant, 
Annabel Stone, had died. Mrs. Stone had been a prominent local 
artist, but had reportedly become a social recluse several months 
after her husband’s death in 193 , and had rarely ventured out of her 
home thereafter. The house was considered to be haunted by the 


local inhabitants after her death, with attempts to enter the property 
ordinarily resulting in considerable emotional distress to the 
intruders. 


Due to the events of Experiment 3013-8, SCP-3013 is currently 
unreachable, due to an SCP-3013-1 instance permeating its current 
containment chamber. It is currently believed that should the current 
containment procedures limiting the present SCP-3013-1 instance to 
its current parameters be destroyed, an XK-class end-of-the-world 
scenario could be possible. As the present SCP-3013-1 instance 
appears to be limited by the boundaries of the room it was contained 
in, despite a lack of clear physical impediments. It is thus believed 
that SCP-3013’s effects are currently tied to the conceptual space of 
the room rather than any physical barriers. 


Experiment Log 3013 
Experiment 3013-1 


Subject: A copy of Rembrandt van Rijn’s “Self 
Portrait with Beret and Turned-Up Collar’, 
originally dated to 1659. This picture was 
considered a viable candidate for containment, 
as the depiction is relatively straightforward 
and lacks any complicating elements. 


Effect Observed: An SCP-3013-1 instance, 
resembling the figure portrayed in the painting, 
manifested a few feet away from SCP-3013. 
The figure began speaking in a dialect of 17th 
century Dutch, speaking about how it “existed 
twice”, and that his presence was a 
“destruction of the self”. After several minutes, 
the figure became violent, attacking the 
facility's guards and demanding that he “was 
made whole again”. The SCP-3013-1 instance 
was immediately terminated, and the picture in 
SCP-3013 removed and replaced. 


Notes: It is believed that the reaction of the 
SCP-3013-1 instance was due to the use of a 


self-portrait. It is recommended that self- 
portraits should not be used again, due to the 
distress caused to the SCP-3013-1 instance 
here. 


Experiment 3013-2 


Subject: A copy of Johannes Vermeer’s “The 
Milkmaid”. This picture was considered a 
viable candidate, in the belief that the woman 
portrayed would not be violent and would pose 
little threat to any Foundation personnel. 


Effect Observed: An SCP-3013-1 instance, 
resembling the figure portrayed in the painting, 
manifested a few feet away from SCP-3013. 
The figure began speaking in a dialect of 17th 
century Dutch, requesting a task to perform. 
When Foundation personnel were unable to 
provide it with a suitable task, the SCP-3013-1 
instance exhibited extreme emotional distress 
for several minutes, begging to be given a task 
before attempting to attack SCP-3013. The 
SCP-3013-1 instance was immediately 
terminated and the painting removed. 


Notes: Subsequent tests were performed 
using this painting. In these, SCP-3013-1 
instances have been given tasks do 
superficially resembling the duties of a 17th 
century Dutch servant to a middle-class 
household. The instances perform these tasks 
constantly, despite physical and emotional 
fatigue, and become distressed if no task is 
given to perform. Possibly due to the fatigue, 
the instances will always become violent after 
approximately 14 hours, at which point they 
are terminated. Another instance will manifest 
shortly afterwards. These SCP-3013-1 
instances are usually non-verbal, expressing 
little co-operation with Foundation questioning; 


however, when asked on one occasion why 
they feel the need to perform these tasks, an 
SCP-3013-1 instance responded, stating that 
“I’ve been serving on paper for far longer than 
| ever did in life. It’s all | know’. 


Due to the relatively low resource cost of this 
test, it is been incorporated into the 
containment procedures for SCP-3013 until a 
suitable replacement is found. 


Experiment 3013-3 


Subject: A copy of the 16th century Persian 
miniature “The Court of Gayumars”, drawn by 
the Safavid miniaturist Sultan Muhammad. 
This picture was initially part of the famous 
“Tahmasp Shahname”. This painting was used 
to examine the effects of a radically different 
style of painting, wherein the painting was 
conceived of as an extension of textual 
decoration rather than as an independent 
work. 


Effect Observed: An SCP-3013-1 
manifestations resembling the painting’s 
depiction of Gayumars immediately 
manifested, screaming the phrase “Where are 
my brothers?” over and over again at a high 
volume. After 30 seconds, several 
SCP-3013-1 manifestations resembling the 
animals in the painting manifested and 
immediately began to attack Foundation 
personnel. The painting was swiftly removed, 
causing the instances to disappear. 


Notes: It is believed that, as the page was 
originally designed to illustrate a volume 
alongside many other pictures, its existence as 
a painting removed from context caused a high 
degree of panic and stress in the SCP-3013-1 


instances. It is recommended that all future 
paintings used are to be independent works of 
art, with a meaning that is not dependent on its 
position within a larger whole. 


Experiment 3013-4 


Subject: A drawing of the Project Lead, Dr. 

= and her husband Dr. FR __, created by 
their young child | R_. The child had 
attempted to draw an accurate representation 
of its parents, but had deemed its drawing a 
failure. This experiment was performed to 
ascertain the effects on SCP-3013 wherein the 
intended result was not achieved. 


Effect Observed: Two SCP-3013-1 instances 
resembling the figures in the drawing 
manifested. These instances were observed to 
constantly sob and scream, begging to be 
killed because of their “failure”. Shortly 
afterwards, they attempted to attack 
SCP-3013, stating that they “needed to be 
unreal again.” The instances were swiftly 
terminated and the painting removed from 
SCP-3013-1. 


Notes: By order of Dr.F —_, no drawings by 
children are to be used with SCP-3013 again. 


Experiment 3013-5 


Subject: A copy of the painting “View of 
Haarlem with Bleaching Fields” by the 17th 
century Dutch painter Jacob van Ruisdael. 
This experiment was conducted to ascertain 
the effects a landscape painting would have on 
SCP-3013. 


Effect Observed: SCP-3013-1 instances 
resembling grass and trees rapidly began 


growing from the floor of the containment 
facility, and attempted to restrain and strangle 
Foundation personnel present. SCP-3013 was 
swiftly removed, causing the disappearance of 
the SCP-3013-1 instances. Foundation 
personnel present have insisted that they 
could hear the words “You do not belong here” 
and “you are not Arcadian” being whispered to 
them, but audio logs reveal no such sounds. 


Notes: This highly unexpected result, which 
lacks a clear explanation, has prompted further 
testing of landscape paintings with SCP-3013, 
especially those drawn in a non-European 
tradition. 


Experiment 3013-6 


Subject: A copy of the painting “Pine Trees” 
by the 16th century Japanese artist Hasegawa 
Tohaku. After the results of Experiment 
SCP-3013-5, a desire to examine further 
landscape paintings is ongoing. 


Effect Observed: The containment facility 
containing SCP-3013 abruptly disappeared, 
along with all of its contents. Video and audio 
links were abruptly cut. After 893 minutes, the 
containment facility and its contents abruptly 
returned. All Foundation personnel were 
unharmed but extremely shaken. They claim 
that the containment facility and its contents 
were transported to hilly landscape stretching 
indefinitely in all directions, with pine trees 
being the only other features in the landscape. 
Immediate amnesia, alongside an extreme 
feeling of panic, prevented them from 
removing the painting for several hours, until 
Agent R , ina fit of panic, accidentally ripped 
the painting in two while “flailing in a mad 
panic”, causing the reversal of the effects of 


SCP-3013. 


Notes: By order of Dr. , experimentation 
with landscape paintings and SCP-3013 is 
suspended until further notice. 


Experiment 3013-7 


Subject: A copy of Georges Bracques’ “Violin 
and Candlestick”. This was to determine the 
effects of a manifestly non-realist style, in this 
case Cubism, on SCP-3013. 


Effect Observed: The containment facility and 
its contents began to exhibit severe physical 
anomalies, with the abrupt deconstruction of 
several objects and the walls. The painting 
was swiftly removed from SCP-3013. A total of 
8 Foundation personnel expired as a result of 
this experiment. 


Notes: Following this experiment, Dr. F 

was removed as project lead, and replaced by 
Dr. .Itwas believed that due to Dr. ’s 
capable and straightforward handling of the 
termination of SCPs , and he would 
provide a more mainstream and rational 


testing approach. 
Experiment 3013-8 


Subject: A copy of Mark Rothko’s “Untitled 
(Black on Grey)”. It was believed by Dr. that 
this would have a negating effect on 
SCP-3013’s anomalous properties, owing to 
the artist's statement that the painting’s 
meaning was concerned with death. 


Effect Observed: The containment facility 
was abruptly filled with an SCP-3013-1 
instance. This instance appears to be an 


and the appearance of material at SCP-364. Although any potential 
causative relationship between the two phenomena is purely 
speculative, evidence collected to date overwhelmingly suggests 
that the material that appears at SCP-364 is artificial in origin. 


History: The existence of SCP-364 was first suggested in 1979, 
following the fly-by of Jupiter by the Voyager 7 probe. Unusual 
activity on lo had been picked up by [DATA EXPUNGED], part of a 
clandestine package of instruments added to both Voyager 7 and 
Voyager 2 by Foundation assets. However, the existence of 
SCP-364 could not be confirmed until the Galileo probe reached 
Jupiter in December 1995, using data and images collected by 
Galileo during its initial pass of lo. None of these images or data 
were released, the official story being that no images were taken in 
the first place. 


While Galileo was left to continue its original mission around Jupiter, 
Foundation personnel worked with high-ranking NASA officials to 
develop and launch two more probes to lo, specifically to study and 
monitor SCP-364. However, to avoid suspicion, these missions to lo 
were announced and treated as exploratory missions to Mars. In late 
1999, both the Mars Climate Orbiter and the Mars Polar Lander 
appeared to crash land on Mars due to "human error", when in 
actuality both spacecraft continued on their way to lo, reaching 
Jupiter in 2007. Galileo had already been sent to its destruction in 
Jupiter’s atmosphere by this time, but the two "Mars" probes 
continue to send back data from lo and SCP-364. The replacements 
for these probes are already [DATA EXPUNGED]. 


Note: Because lo is constantly subjected to heavy radiation and 
Jupiter's formidable magnetosphere, any spacecraft sent into orbit 
around lo would be very short-lived, and the two probes up there 
now are in orbit around Europa and Jupiter. Thus, constant 
observation of SCP-364 is not possible, but this is not a major issue 
while SCP-364 remains immobile. A more pressing concern is 
technology: how long will it be before anyone in the world can point 
a next-generation telescope at lo and be able to resolve 10-meter- 
long objects from the Earth's surface? Plus, who's to say that 
whatever is sending that stuff to lo couldn't send it somewhere else? 
—Dr. Blanchard 


absence of all matter. The instance is 
incapable of absorbing or reflecting light, with 
observers ordinarily providing no other 
descriptor than "darkness", although some 
respond by calling it "death" instead. The 
status of all objects and people within the 
holding facility at the time of this SCP-3013-1 
instance's manifestation- including SCP-3013 
and 12 Foundation personnel- is presently 
unknown. Attempts to penetrate this instance 
by objects and personnel have simply resulted 
in them being sucked into the instance. 


Notes: Due to the unexpected results of this 
experiment, SCP-3013 is currently 
unreachable. The containment procedures 
have been updated accordingly. The current 
SCP-3013 instance appears to possess some 
form of anti-memetic effect; it is believed that a 
total of Foundation personnel were sent into 
the current SCP-3013-1 instance to retrieve 
SCP-3013, before an investigation by 
[REDACTED] determined that Foundation 
personnel were systematically forgetting the 
existence of any personnel being sent into the 
containment facility. 


Addendum SCP-3013-1: On 27/12/20 , a stolen painting anda 
letter were discovered by the Dutch police during a raid on an illegal 
art auction in Amsterdam. Foundation agents embedded within the 
Dutch police recognised its relevance to SCP-3013 and transferred 
both to Foundation control, issuing amnestics to all known to be 
involved. The painting is an oil-on-canvas work of considerable skill, 
dated to the mid-1930s and depicting a middle-aged man believed 
to be Elijah Stone, the husband of Annabel Stone. The letter was 
also dated to the mid-1930s. It is believed to have been intended for 
a friend of Ms. Stone’s, Maud Lancaster, but was unfinished and 
apparently never sent. The letter reads as follows: 


My Dearest Maud, 


It was delightful to see you last week! The children are 
growing up so fast now; | could hardly recognise them. | 
must thank you for your recipe for those jam tartlets- | 
might cook them for the church fundraiser next month. 
Your new house is so lovely- that little London flat of 
Jack’s always seemed to be far too dark and squalid for 
you. 


| do appreciate your attempts to lift my spirits after 
Elijah’s passing, but there really is no need. It has been 
almost a year now, and I am doing quite fine on my own. 
My paintings are selling well recently, and a fellow from 
London recently bought that picture of my niece Harry for 
a tidy little sum. | do miss him dreadfully, but I’m 
beginning to piece things back together again. Reverend 
Jacobs has been most helpful, and always provides a 
kind shoulder to lean on. | think he might be a little sweet 
on me- he is an awtully handsome fellow, and it doesn’t 
do for someone in his line of work to be unmarried at his 
age. 


By the way, | know that you’re interested in spiritualists 
and mediums, so | thought this little story might amuse 
you. There’s a medium in the village, who | think I’ve 
mentioned before- “Madam Quentin”, she calls herself. | 
think it’s all frightful nonsense, personally, but it does 
provide me with some amusement in the evenings- 
watching all the locals get in a tizzy over some great- 
aunt they never cared about any way is rather fun. 


Anyway, there was a chap from America there, a doctor 
of some kind, who knew Elijah! Said that he knew him 
from his work in London- they'd often met up at the 
Belgrade, apparently. He gave me the most marvellous 
wooden frame- it's in a delightful shade, and with a lovely 
pattern carved into it. And I must tell you, Maud- he 
seemed at first like a perfectly charming and amiable 
young gentleman, but once he had given me the frame, 
he leaned in and said the strangest things. 


His voice was so cold and chilling that I’ve remembered