Dickens and His Illustrators Part 28

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, d.i.c.kens 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 d.i.c.kens 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."

d.i.c.kens, it seems, was seldom in advance with his ma.n.u.script, and each number was barely completed in time for the printers, thus necessitating excessive prompt.i.tude on the part of the engravers as well as the designer. The subjects of the earlier ill.u.s.trations 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 d.i.c.kens 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 ill.u.s.trating 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 d.i.c.kens's dramatic sense obtruded itself when arranging for the drawings. He would always wish that scene or _tableau_ to be ill.u.s.trated on which he had lavished the whole force and art of his descriptive powers--naturally the one that least required or justified ill.u.s.tration." 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. .h.i.therto 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 Ill.u.s.tration ent.i.tled "On Dangerous Ground."

_Vide_ "The Mystery of Edwin Drood."

_Lent by the Artist._

[Ill.u.s.tration]

The requisite consultations between d.i.c.kens and his ill.u.s.trator 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 princ.i.p.al 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 d.i.c.kens 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 ill.u.s.trations; this was discovered by the artist somewhere in the East End of London; the exact spot he cannot recall, nor does he believe that d.i.c.kens 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 ill.u.s.tration, "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 subst.i.tuted a gateway different from that existing at this spot, in order to a.s.sist, no doubt, in promoting the novelist's obvious intention of disguising the ident.i.ty of "Cloisterham." In the engraving ent.i.tled "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 ill.u.s.tration, "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 furnis.h.i.+ng items which formed part of his bachelor establishment.

It is interesting to learn that d.i.c.kens, who placed such great confidence in his ill.u.s.trator, 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 d.i.c.kens 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. .h.i.therto."

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._

[Ill.u.s.tration]

An examination of the ill.u.s.trations 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 ill.u.s.trations, 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 d.i.c.kens was much gratified. As events proved, Mr.

Fildes was as receptive as d.i.c.kens was impressive, and "vividly as d.i.c.kens 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, d.i.c.kens never wholly confided to his ill.u.s.trator 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 d.i.c.kens to ask him if he had any special reason for so describing him. It was a matter of a neck-scarf. Whereupon d.i.c.kens, 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.

Mr. Luke Fildes having made so shrewd a guess respecting the important part to be played by Jasper in the story, d.i.c.kens thought fit to confide in him some details concerning the final scene. Princ.i.p.ally, perhaps, with this object in view, he invited the artist to spend a few days with him at Gad's Hill, in order that he might become familiar with the neighbourhood in which many of the scenes in "Edwin Drood" are laid. The novelist promised him that, if he were a good pedestrian, he would introduce him to some of the most charming scenes in Kent, and they would visit together the picturesque Hall at Cobham with its famous gallery of paintings, Cobham Park and village, and other interesting places in that locality. In the course of conversation during this interview, d.i.c.kens (who evidently antic.i.p.ated much enjoyment from the little holiday) recalled that, when a boy, he had seen in Rochester a gaol or "lock-up," and significantly added that Mr. Fildes should make a note of one of the prison cells, which would do admirably to put Jasper in for the _last ill.u.s.tration_--thus pretty clearly foreshadowing the conclusion of the story. "I want you to make as good a drawing," said d.i.c.kens, "as Cruikshank's 'f.a.gin in the Condemned Cell,'"--a suggestion which Mr. Fildes did not approve, as any attempt on his part to treat the subject in the Cruikshankian manner might be resented as an obvious plagiarism, although a comparison of the two designs would have proved interesting.

PLATE LXVI

STUDY FOR

MR. GREWGIOUS

_Facsimile_ of the Original Sketch by

LUKE FILDES, R.A.

This figure appears in the Ill.u.s.tration ent.i.tled "Mr. Grewgious has his Suspicions." _Vide_ "The Mystery of Edwin Drood."

_Lent by the Artist._

[Ill.u.s.tration]

It was decreed, alas! that Mr. Fildes's visit to Charles d.i.c.kens's "little Kentish freehold" would never be realised while the great writer lived. On the morning of the appointed day, d.i.c.kens intended making his usual weekly call at the office of _All the Year Round_, and was to have been accompanied on his return by Mr. Fildes. That very day, however, the artist (whose luggage was packed ready for departure) took up the newspaper, and was startled to read the melancholy intelligence that d.i.c.kens was no more. This terribly sudden death changed everything; but in order to fulfil the novelist's express desire, the artist was invited (after the funeral) to stay with the d.i.c.kens family. "It was then," remarks Mr. Fildes, "while in the house of mourning, I conceived the idea of "The Empty Chair," and at once got my colours from London, and made the water-colour drawing a very faithful record of his library."[50]

Footnote 50: An engraved reproduction of this picture appeared in _The Graphic_ Christmas number, 1870.

The death of d.i.c.kens had an extraordinary effect on Mr. Fildes, for it seemed as though the cup of happiness had been dashed from his lips.

Following the example of Mr. Marcus Stone, he decided to abandon black-and-white ill.u.s.tration and direct his entire attention to painting, with what success all the world knows. In 1879 he was elected an a.s.sociate of the Royal Academy, and attained full honours eight years later. The first picture that brought him into notice was "Applicants for Admission to a Casual Ward" (exhibited at the Royal Academy in 1874), this being elaborated from _The Graphic_ drawing, "Houseless and Hungry," which, as already described, led to his acquaintance with the author of "Pickwick." While occupied with this important canvas, Mr.

Fildes was desired by Forster to call upon him, and, on entering the study, he was interrogated respecting his welfare; for Forster apparently opined that the demise of the novelist, and the consequent termination of his ill.u.s.tration-work for "Edwin Drood," might have caused the young artist some embarra.s.sment. After listening intently to Mr. Fildes's description of the subject he was then painting, Forster suddenly exclaimed, "How very strange! You are exactly depicting a scene witnessed by d.i.c.kens himself many years ago. I have just copied his letter referring to it, which has never been out of my possession;" and from an acc.u.mulation of papers on his desk (for he was then preparing his biography of the novelist) he abstracted the missive in which the novelist alluded to the unfortunate outcasts as "dumb, wet, silent horrors--sphinxes set up against that dead wall, and none likely to be at the pains of solving them until the general overthrow." Mr. Fildes was so struck by this coincidence, that he sought and obtained permission to quote d.i.c.kens's forcible sentence under the t.i.tle of his picture when printed in the Academy Catalogue.

Mr. Luke Fildes has many pleasant recollections of Charles d.i.c.kens to impart. "He was extremely kind to me," observes the artist, "and, when living in Hyde Park Place, asked me to many of his entertainments. He was almost fatherly, seeming to throw a protecting air over me, and always elaborately introducing me to his guests." The artist still cherishes, as valued mementoes, a little memorandum porcelain slate bound in leather, a quill pen with the blue ink dried upon it, and a square sheet of blue paper, which were given to him by Miss Hogarth, who found them on the novelist's desk just as he had left them.

When d.i.c.kens died, only three numbers of "The Mystery of Edwin Drood"

had been published. The ill.u.s.trations for the ensuing portion of the story, as completed up to the time of his brief but fatal illness, had yet to be executed, and it is interesting to know that the t.i.tles for these were composed by the artist. With a view to future numbers, Mr.

Fildes had made several drawings in Rochester, including the choir of the Cathedral and the exterior of Eastgate House (_i.e._ "The Nuns'

House"), which were never utilised; he also painted a view of Rochester Castle and Cathedral as seen from the Medway, this being reproduced as a vignette for the engraved t.i.tle-page. The artist invariably signed his drawings "S. L. Fildes;" but in the vignette here referred to the signature incorrectly appears as "J. L. Fildes."

PLATE LXVII

STUDY FOR

MR. GREWGIOUS

_Facsimile_ of the Original Sketch by

LUKE FILDES, R.A.