DROOD"--Charles Alston Collins Offers his Services--His
Design for the Wrapper--He Prepares Sketches for the First
Number--Ill-Health--The Project abandoned--Death of Mr.
Collins creates a Dilemma--"The Fellow for 'Edwin Drood'"
Discovered--Luke Fildes, R.A.--His Drawing of "Houseless and
Hungry"--Specimens of his Black-and-White Drawings Submitted
to Dickens--A Complimentary Letter from the Novelist--Mr.
Fildes Elected to Illustrate "Edwin Drood"--First Meeting of
Author and Artist--A Pen-Portrait of Dickens--A Memorable
Interview--Pictorial Exactness--Working under
Difficulties--Studies from the Life--Successful Realisation
of Types--The Opium-Smokers' Den--Cloisterham--The Artist's
Method of Executing his Designs--The Engraved
Reproductions--The _Finale_ of the Story Hinted at--Mr.
Fildes Invited to Gad's Hill--Suggestion for the Last
Drawing--Death of Dickens--"The Empty Chair"--A Visit to
John Forster--A Curious Coincidence--Pleasing Reminiscences
of Dickens--Mementoes of the Novelist--Unpublished Drawings
for "Edwin Drood."
PLATE LXI
LUKE FILDES, R.A.
From a Photograph specially taken for this Work by
JAMES HYATT
[Illustration]
When Mr. Marcus Stone, R.A., had completed his designs for "Our Mutual
Friend," he determined to relinquish black-and-white drawing and to
concentrate his energy upon painting; but for this, it is probable that
his skilled pencil would have been requisitioned for Charles Dickens's
last story, "The Mystery of Edwin Drood." That the re-engagement of
Hablôt Browne as illustrator of that unfinished romance was not
contemplated may be attributed chiefly to the fact that, in 1867, the
clever artist whose name and fame will ever be associated with the
writings of Dickens was unhappily struck with severe paralysis, and
consequently his hand had lost its cunning. The assistance of either of
these draughtsmen being, therefore, out of the question, the novelist
was compelled to seek a new illustrator, and at this crisis his
son-in-law, Charles Alston Collins (brother of Wilkie Collins),
intimated that he would like to undertake the necessary designs for
"Edwin Drood," or rather to test his powers in that direction. Although
he occupied himself, in a desultory fashion, with both Literature
and Art, Charles Collins had been bred a painter, and achieved a notable
position among the young artists of the Pre-Raphaelite School. He
favoured the pen, however, rather than the pencil, his fugitive pieces
being distinguished for the most part by humour of a charming quality.
Dickens had great faith in his artistic talent, and accordingly (on
September 14, 1869) sent his publishers the following note: "Charles
Collins wishes to try his hand at illustrating my new book. I want him
to try the cover first. Please send down to him at Gad's Hill any of our
old green covers you may have by you." The pictorial wrapper was
satisfactorily completed, whereupon Charles Collins began to prepare
sketches for the first number, an undertaking which he looked upon
rather as an experiment. Ill-health, alas! proved a serious obstacle,
and, after making a futile endeavour to realise his conceptions, he was
compelled to abandon the project altogether. It has been suggested that,
as the leading incidents portrayed by him on the cover were intended to
prefigure the course of the narrative, Charles Collins must have
obtained a clue to the "mystery" involved in the story. As a matter of
fact, there is no evidence that he had the faintest notion of the
meaning of the enigmatical little _tableaux_ of which his design
consists; on the contrary, it is asserted that he merely received the
novelist's verbal directions without obtaining any hint as to their real
significance. Charles Alston Collins died in 1873 in his forty-fifth
year, having "borne much suffering, through many trying years, with
uncomplaining patience." He was a son-in-law of Charles Dickens, whose
younger daughter, Kate, he married in 1860, the occasion being
signalised by much rejoicing on the part of the novelist's friends and
neighbours at Gad's Hill.
* * * * *
The speedy relinquishment by Charles Collins of the illustrating of
"Edwin Drood" caused something of a dilemma. Dickens being again without
an illustrator, he appealed for advice to his friends Mr. (afterwards
Sir John) Millais, R.A., and Mr. W. P. Frith, R.A., who promised to aid
him in searching for a suitable artist. Shortly afterwards there was
published in the initial number of _The Graphic_ an engraving entitled
"Houseless and Hungry," depicting a crowd of vagrants of both sexes
awaiting admission to the workhouse,--a picture at once so powerfully
conceived and so pathetic in sentiment that it immediately attracted the
attention of Sir John Millais, who immediately hastened in a cab to
Dickens's rooms at Hyde Park Place, bearing in his hand a copy of the
new journal. Striding into the study, and waving _The Graphic_ above his
head, the famous painter exclaimed, "I've got him!"
"Got whom?" inquired the novelist.
"The fellow for 'Edwin Drood,'" replied Millais, as he threw the paper
down on the table.
No sooner had Dickens examined the picture than he became similarly
enthusiastic in his praise, and wrote forthwith to his publishers,
requesting them to communicate with the artist, Mr. Samuel Luke Fildes,
now a popular Royal Academician, but who was then comparatively unknown
in the world of Art. At the period referred to, Mr. Fildes was a young
man of five-and-twenty, who had but just begun to make his mark as a
draughtsman in black-and-white. After some desultory study of drawing
and painting at Chester and Warrington, he came to London in 1862 for
the purpose of seeing the Great Exhibition, and was so impressed that he
determined to make his future home in the Metropolis. In the following
year he gained a scholarship at the South Kensington Schools, and
afterwards became a student of the Royal Academy. _The Cornhill, Once a
Week_, and other magazines then in the ascendant, owed much of their
popularity to the beautiful designs by Millais, Leighton, and similarly
distinguished artists, and these remarkable productions inclined Mr.
Fildes to adopt book-illustration as a stepping-stone towards painting.
Good-fortune attended his efforts, and in June 1869, by which time he
had achieved a position as a black-and-white draughtsman, he received an
intimation from Mr. W. L. Thomas that he had conceived the idea of
publishing a new illustrated paper, eventually called _The Graphic_,
and suggested that he should draw something effective, the subject to be
the artist's own choice, for publication therein.
PLATE LXII
STUDY FOR THE HEAD OF
NEVILLE LANDLESS
_Facsimile_ of an Original Sketch for "The Mystery of Edwin Drood" by
LUKE FILDES, R.A.
_Lent by the Artist._
[Illustration]
"I went home," says Mr. Fildes, "and, at ten o'clock on a terribly hot
night, I sat with a piece of paper and sketched out the idea for 'The
Casuals.' Some few years before, when I first came to London, I was very
fond of wandering about, and remember beholding somewhere near the
Portland Road, one snowy winter's night, the applicants for admission to
a casual ward." Recollecting the incident, Mr. Fildes endeavoured to
reproduce this scene as a subject likely to prove acceptable to the
manager of _The Graphic_, and it was that very picture which, as already
related, led to the artist's introduction to the famous novelist.
Messrs. Chapman & Hall, who had been authorised to write to Mr. Fildes
respecting the illustration of "Edwin Drood," desired him to submit
specimens of his black-and-white work, and at the same time expressed a
hope that, as they had no recollection of having seen representations of
beautiful women in any of his drawings, he would enclose a few examples
of his ability in that direction, for the very important reason that in
Charles Dickens's new story would appear two attractive heroines. Mr.
Fildes immediately dispatched a parcel containing various illustrations
designed by him for the magazines, and promised to execute, for the
novelist's inspection, two or three drawings of scenes from one of his
stories. A few days later the artist became the recipient of a very
complimentary letter, in which Dickens said: "I beg to thank you for the
highly meritorious and interesting specimens of your art that you have
had the kindness to send me. I return them herewith, after having
examined them with the greatest pleasure. I am naturally curious to see
your drawing from 'David Copperfield,' in order that I may compare it
with my own idea. In the meanwhile, I can honestly assure you that I
entertain the greatest admiration for your remarkable powers."
In accordance with his own proposal, Mr. Fildes prepared two or three
designs from "Copperfield," one of which fulfilled the requisite
condition that it should contain a representation of a pretty girl, the
subject selected being the scene depicting Peggotty embracing Little
Em'ly after the announcement of her betrothal to Ham. Dickens considered
these drawings so eminently satisfactory that he desired the artist to
call upon him at his temporary residence, No. 5 Hyde Park Place, for the
purpose of consulting him regarding the illustrations for "Edwin Drood."
The eventful day at length arrived when author and artist met for the
first time, and the auspicious occasion is thus pleasantly recalled in
the following note from Mr. Fildes (written for "Charles Dickens by Pen
and Pencil"), in response to my inquiry respecting his earliest
impressions of the novelist's personality:--
"I can tell you so little of Dickens that is 'terse, graphic, or vivid.'
It's so long ago! He passed by me so like a vision. At least it seems so
to me now. When I first saw him, I felt a little oppressed--I don't know
why--he loomed so large, and was so great in my imagination. He rose
from his writing-table to greet me. He was dressed in dark clothes; I
cannot quite recall the cut of coat, but it was loose and unbuttoned,--a
black silk neckerchief was loosely tied, with hanging ends, round his
throat. His general appearance, with the 'cut' of his head, gave me the
idea--perhaps reminded me somehow--of one who was, or had been,
connected with the sea. But I thought so much of the Man, and had so
affectionate a respect, that it never occurred to me then nor since to
take an inventory of his features or the details of his clothes. I could
possibly be contradicted on nearly every point were I to attempt it.
What I do remember--and it is as clear to me as yesterday--is the
indescribable sweetness and kindness of manner--a frank affectionate way
that drew me towards him the moment I saw him. I don't know what it was,
or how--perhaps his smile, the clasp of his hand, the drawing me down to
sit beside him--but I felt like one does with one's own father, that you
'get on with' when a boy. That impression never left me."
PLATE LXIII
STUDIES FOR
EDWIN DROOD
_Facsimile_ of Original Sketches by
LUKE FILDES, R.A.
This figure appears in the Illustration entitled 'At the Piano.' _Vide_
"The Mystery of Edwin Drood."
_Lent by the Artist._
[Illustration]
When, at this memorable interview, Dickens had expressed his
requirements, Mr. Fildes (as he himself informs me) explained to the
novelist that, while fully appreciating the honour of being selected as
illustrator of "Edwin Drood," he would be compelled most reluctantly to
forego the privilege if it were really a _sine qua non_ that the designs
should be of a humorous character, following the lead of the versatile
"Phiz." He conceived it advisable to make it clearly understood, there
and then, that comic drawing was not his _metier_, and ventured to
remind the novelist that his stories, in view of the fact that they
possessed an intensely serious side as well as a jocular one, lent
themselves admirably to a graver style of Art. After pondering for a
moment, Dickens observed that he was "a little tired" of being regarded
by his illustrators mainly as a humorist,--a remark, however, which he
qualified in a manner that did not at all suggest dissatisfaction with
those artists, but implied, rather, that he was not averse to the more
solemn incidents in his writings being considered by his pictorial
interpreters; his agreement with Mr. Fildes in this respect might well
have arisen from what he knew would be the leading characteristic of his
last romance (certainly not humorous), which would give scope only to
the "serious" artist. The interview resulted in the appointment of Mr.
Fildes as illustrator of the forthcoming story, and in a letter to James
T. Fields (of Boston, U.S.A.) the novelist said: "At the very earnest
representations of Millais (and after having seen a great number of his
drawings), I am going to engage with a new man; retaining, of course, C.
C.'s [Charles Collins's] cover." So content was Dickens with his choice
of this artist, that he could not refrain from expressing his
satisfaction to his friends.
[Sidenote: =The Mystery of Edwin Drood, 1870.=]
As the date fixed for the publication of the first number of "Edwin
Drood" was rapidly approaching, it became necessary that Mr. Fildes
should immediately begin to prepare his designs. Receiving the
proof-sheets of each number, he studied them so diligently and carefully
that he allowed no incident or personal trait to escape him. Indeed,
Dickens himself (as Mrs. Meynell tells us in _The Century_ of February
1884) was astonished at the way in which his mind found itself mirrored
in that of his coadjutor, both as regards the pictorial exactness of
inanimate things and the appreciation of individual human character. The
artist, however, was at first considerably perplexed in being kept in
total ignorance of the plot, as Dickens volunteered no information
respecting either the characters or the various parts they played, and
although Mr. Fildes was much puzzled, before the plot began to develop,
in discovering who was the hero and who the villain of the story, he
hesitated to interrogate the novelist, because he surmised that there
was a particular motive for his reticence. "He did, at my solicitation,"
observes Mr. Fildes, "occasionally tell me something--at first
charily--for he said it was essential to carefully preserve the
'mystery' from general knowledge to sustain the interest of the book,
and later he appeared to have complete confidence in my discretion."
Dickens, it seems, was seldom in advance with his manuscript, and each
number was barely completed in time for the printers, thus necessitating
excessive promptitude on the part of the engravers as well as the
designer. The subjects of the earlier illustrations were selected by the
author, who marked on the proofs the particular incidents to be
depicted. In thus trotting after the novelist, the artist experienced a
sense of restraint, and felt unable to do himself justice. At length,
when Dickens proposed that one of the incidents to be delineated should
be that in which John Jasper steals up a winding staircase in absolute
darkness with murder on his face, Mr. Fildes courteously protested by
pointing out the artistic disadvantages of illustrating such a scene,
adding that it was already so graphically recounted that further
elucidation became superfluous. _Apropos_ of this, Mr. M. H. Spielmann
remarks: "It is curious to observe how Dickens's dramatic sense obtruded
itself when arranging for the drawings. He would always wish that scene
or _tableau_ to be illustrated on which he had lavished the whole force
and art of his descriptive powers--naturally the one that least
required or justified illustration." By this time the novelist realised
the advisability of leaving the responsibility of selection in the hands
of the artist, who thenceforth was relieved of the limitations and
restrictions hitherto imposed upon him.
PLATE LXIV
STUDIES FOR
MR. JASPER
_Facsimile_ of Original Sketches by
LUKE FILDES, R.A.
The figure on the right was introduced in the Illustration entitled "On
Dangerous Ground."
_Vide_ "The Mystery of Edwin Drood."
_Lent by the Artist._
[Illustration]
The requisite consultations between Dickens and his illustrator were
invariably held at Hyde Park Place. Whenever practicable, Mr. Fildes
made sketches from the life of suitable types for the characters in the
story, and was fortunate in securing living models for the principal
personages. Over the type of Jasper there was much discussion, the
artist making several attempts before he obtained an exact portrait of
the choirmaster; and so successful and sympathetic were this and other
delineations of character, that Dickens was delighted with them,
declaring them to be like veritable photographs of the people
themselves. The backgrounds, too, were drawn from actual scenes, as, for
example, the opium-smokers' den which figures in the first and last
illustrations; this was discovered by the artist somewhere in the East
End of London; the exact spot he cannot recall, nor does he believe that
Dickens had any particular den in his mind, but merely described from
memory the general impression of something of the kind he had observed
many years before. The architectural details introduced in the
illustration, "Durdles Cautions Mr. Sapsea against Boasting," were drawn
from a careful sketch made within the precincts of Rochester Cathedral,
although in the published design there is substituted a gateway
different from that existing at this spot, in order to assist, no doubt,
in promoting the novelist's obvious intention of disguising the identity
of "Cloisterham." In the engraving entitled "Good-bye, Rosebud,
darling!" it is very easy to recognise the quaint courtyard of Eastgate
House in Rochester High Street. In the river scene we obtain a glimpse
of Putney Church and of the picturesque wooden bridge which, until a few
years ago, spanned the Thames at that point;[49] while in a third
illustration, "Under the Trees," the artist availed himself of a sketch
(made some time previously) of the cloisters at Chester Cathedral.
Footnote 49: By a curious coincidence, this scene is almost
identical with that depicted by Seymour on the wrapper for
the monthly parts of "Pickwick."
Concerning another of these designs, viz., "Mr. Grewgious Experiences a
New Sensation," it may be mentioned that not only was this cosy interior
actually drawn from a room in Staple Inn, but that the original of the
capacious arm-chair in which Rosa is seated still remains in the
artist's possession, it being almost the sole survivor of the furnishing
items which formed part of his bachelor establishment.
It is interesting to learn that Dickens, who placed such great
confidence in his illustrator, did not consider it essential that
preliminary sketches should be submitted to him. Mr. Fildes's original
studies for his designs were vigorously executed with chalk upon tinted
paper, the high-lights being emphasized with chinese-white; the finished
drawings were made upon paper and then photographed upon boxwood blocks.
The engraving was at first entrusted to Dalziel Brothers, one of the
best-known firms of wood-engravers of that day, but after the first two
engravings were completed, Mr. Fildes intimated to the novelist a wish
that the work of reproduction might be transferred to a former colleague
of his, Charles Roberts, whereupon Dickens thus wrote to the late
Frederick Chapman, of Chapman & Hall: "Mr. Fildes has been with me this
morning, and, without complaining of Dalziel, or expressing himself
otherwise than as being obliged to him for his care in No. 1, represents
that there is a brother-student of his, a wood-engraver, perfectly
acquainted with his style and well understanding his meaning, who would
render him better. I have replied to him that there can be no doubt that
he has a claim beyond dispute to our employing whomsoever he knows will
present him in the best aspect. Therefore, we must make the change; the
rather because the fellow-student in question has engraved Mr. Fildes's
most successful drawings hitherto."
PLATE LXV
STUDY FOR
"GOOD-BYE, ROSEBUD, DARLING"
_Facsimile_ of the Original Sketch for "The Mystery of Edwin Drood" by
LUKE FILDES, R.A.
_Lent by the Artist._
[Illustration]
An examination of the illustrations discloses the fact that ten out of
the full complement of twelve bear the signature of C. Roberts. In some
instances, however, the result is disappointing, for the delicate
tone-values which mark the original drawings are not apparent in the
reproductions. This defect is chiefly due to the technical difficulties
caused by the thick photographic film covering the surface of the
wood-blocks, which curled up under the point of the graver; unengraved
portions of the picture were thus lost, and the engraver, although
carefully copying the missing portions, seldom succeeded in reproducing
the characteristic touch of the artist. Mr. Fildes, perhaps, is
hypercritical, for those who had not compared the engraved _replicas_
with the original designs were delighted with these decidedly effective
illustrations, while Mr. W. P. Frith, R.A., quick to recognise the
unusual ability displayed in them, wrote to the novelist complimenting
him on securing so facile and graceful an interpreter of his text,--a
comment with which Dickens was much gratified. As events proved, Mr.
Fildes was as receptive as Dickens was impressive, and "vividly as
Dickens saw the creatures of his brain, he saw them no otherwise than as
they lived by this quick and sympathetic pencil."
For reasons already explained, Dickens never wholly confided to his
illustrator his intentions respecting the plot of the story. A part of
the "mystery," however, was (in a sense) surprised out of him by the
keenness and care with which the artist took up a suggestion. Mr. Fildes
informs me that it happened in this way: "I noticed in the proof of the
forthcoming number a description of Jasper's costume so markedly
different from what I had been accustomed to conceive him as likely to
wear, that I went at once to Dickens to ask him if he had any special
reason for so describing him. It was a matter of a neck-scarf. Whereupon
Dickens, after some little cogitating, said he had a reason, and that he
wished the scarf to be retained, and, after some hesitation, told me
why. He seemed to be rather troubled at my noticing the incident, and
observed that he feared he was 'paying out' the 'mystery' too soon,
unconsciously doing so; for, he said, he trusted to the 'mystery' being
maintained until the end of the book. He seemed to me to think it was
essential to do so, and especially enforced me to secrecy respecting
anything I knew or might divine. This description of my interview with
the novelist on the occasion in question gives, of course, only the
sense of what transpired, and I do not pretend to quote exactly any of
his words, or any phrase he may have used." The scarf was, in fact, the
instrument of murder, employed by Jasper as the means of strangling the
young breath of Edwin Drood on the night of the great gale.