Chapter D: Maclise, R. a (2)

As the son of the novelist's cherished friend, Frank Stone, A.R.A., who partly illustrated "The Haunted Man," Mr. Marcus Stone was brought by force of circumstances into early communication with the author of "Pickwick." Born in 1840, he soon indicated by his _penchant_ for Art that he inherited his father's talent, becoming in course of time a painter even more distinguished; for Frank Stone did not live to attain full honours of the Royal Academy. Mr. Marcus Stone proudly confesses that, even as a mere lad, Charles Dickens's romances proved most fascinating to him, and he recalls an interesting incident as evidence of this influence. When, in 1852-53, the dramatic story of "Bleak House" appeared in serial form, he eagerly read each number as it came out, and was much attracted by the novelist's rendering of Jo, the crossing-sweeper, being quick to perceive the artistic capabilities of the scenes in which that pathetic character is introduced. In the eleventh chapter a specially touching reference is made to the poor outcast--that memorable occasion when he softly sweeps the step of the gateway leading to the loathsome graveyard in which was buried the man who had been "wery good" to him. Dickens's vivid description of the weird picture at once induced Marcus Stone (then twelve years of age) to try his hand at depicting it with his pencil. While so engaged the novelist entered the room, and, looking over his shoulder, he immediately recognised the subject of the sketch, whereupon he encouragingly observed, "Well, now, that is very good. You will have to give that to me." Accordingly, on completion, the little drawing was sent to Tavistock House.[45] About a year afterwards the young artist received a copy of "A Child's History of England," containing the author's autograph, and accompanied by the following note, dated December 19, 1853:--

"MY DEAR MARCUS,--You made an excellent sketch from a book
of mine which I have received (and preserved) with great
pleasure. Will you accept from me _this_ little book? I
believe it to be true, though it may be sometimes not as
genteel as history has a habit of being.--Faithfully yours,

"CHARLES DICKENS."

Footnote 45: Curiously enough, "Phiz" had already selected
the same subject as an illustration for the succeeding
number, an early proof of which was forwarded by Dickens to
Mr. Marcus Stone, in order to direct his attention to the
coincidence.

Even at the early age of three or four, Mr. Marcus Stone evinced a desire to become an artist,--a wish that was never discountenanced. In his seventeenth year he ostensibly began his career as a painter, but his father, who was then an invalid, could not for that reason efficiently direct the course of his son's studies. Indeed, Mr. Marcus Stone never had any systematic training in the details of his profession, and what he learnt during his boyhood was, for the most part, casually "picked up" in his father's studio. At this time he painted a picture called "Rest," representing a knight in armour lying under a tree, and this, the first of his productions accepted by the Royal Academy, excited much favourable comment, the work being especially remarkable on account of the juvenility of the artist, who, as he himself intimates, was really ten years before his time.

In November 1859, shortly after his initial success in the world of Art, Mr. Marcus Stone mourned the death of his father, an event rendering it imperative that, in entering upon a career which not unfrequently fails to yield a golden harvest, he should have a powerful helping hand. Among those of his father's friends who recognised this necessity was Charles Dickens, who, with characteristic promptitude and energy, exerted his influence on behalf of the young man. Besides other kind actions, the novelist introduced him to Thomas Longman, the publisher, to whom he wrote: "I am very anxious to present to you, with the earnest hope that you will hold him in your remembrance, young Mr. Marcus Stone, son of poor Frank Stone, who died suddenly but a little week ago. You know, I daresay, what a start this young man made in the last Exhibition, and what a favourable notice his picture attracted.[46] He wishes to make an additional opening for himself in the illustration of books. He is an admirable draughtsman, has a most dexterous hand, a charming sense of grace and beauty, and a capital power of observation. These qualities in him I know well to my own knowledge. He is in all things modest, punctual, and right; and I would answer for him, if it were needful, with my head. If you will put anything in his way, you will do it a second time, I am certain."

Footnote 46: This picture was entitled "Silent Pleading" and
represents a tramp with a child in his arms, who are
discovered asleep in a shed by the squire and the village
constable.

PLATE LVII

STUDIES FOR

"MR. VENUS SURROUNDED BY THE TROPHIES OF HIS ART"

_Facsimile_ of Original Sketches for "Our Mutual Friend" by

MARCUS STONE, R.A.

_Lent by the Artist._

[Sidenote: =Little Dorrit, 1861.=]

The opportunity soon arrived when the novelist's interest in the son of "poor Frank Stone" assumed a very practical form, for at this juncture it occurred to him to test the artistic capabilities of Marcus Stone, probably without any intention of permanently ousting "Phiz." The young _protégé_, however, possessed no knowledge of etching, and, indeed, had gained but little experience in any other form of illustration. Fortunately, the art of drawing upon wood (then much in vogue, but now practically obsolete) needed very little training in the hands of one skilled in the use of the pencil, so that Dickens was induced to favour Marcus Stone by agreeing to the adoption of the readiest means of producing his designs for the engraver. It is not generally known that the artist's first attempt at drawing on wood was the frontispiece for the first cheap edition of "Little Dorrit" (1861), which, although showing marked ability, is by no means equal to his subsequent efforts. Marcus Stone was fortunate in making his _début_ as a black-and-white draughtsman at the time when a remarkable array of talent presented itself in the pages of the _Cornhill Magazine_, just then launched by Thackeray, the illustrations for which were supplied by Millais, Fred. Walker, Sandys, and Leighton--a new school of designers, whose admirable pencillings could not fail to inspire the younger members of the craft.

[Sidenote: =Our Mutual Friend, 1864-65.=]

Mr. Marcus Stone, who was scarcely twenty-one years of age when he first essayed the art of book-illustration, rightly considers that one of the most important events of his life was the receipt of the commission to illustrate "Our Mutual Friend," and, doubtless, he fully realised at the time how valuable was the _prestige_ arising from such collaboration with so popular a writer as Charles Dickens. This story, like those which preceded it, was issued in monthly parts, the first instalment appearing in May 1864. At the beginning the novelist was about four numbers in advance, but he lost his advantage as the tale progressed, until at length he found himself in a position necessitating the preparation of each number month by month, as required by the exigencies of publication. Before the initial number could be circulated, a pictorial wrapper was requisitioned, for which Mr. Stone designed a series of _tableaux_ embodying somewhat allegorically the leading characters and incidents, and displaying prominently in the centre the title of the story, the word "Our" being dropped in over one of the subjects. A preparatory sketch was submitted to Dickens, who, while thoroughly approving thereof, made certain proposals tending to its improvement. Writing to the artist (February 23, 1864) he said:

"I think the design for the cover _excellent_, and do not doubt its coming out to perfection. The slight alteration I am going to suggest originates in a business consideration not to be overlooked. The word 'Our' in the title must be out in the open like 'Mutual Friend,' making the title three distinct large lines--'Our' as big as 'Mutual Friend.' This would give you too much design at the bottom. I would therefore take out the dustman, and put the Wegg and Boffin composition (which is capital) in its place. I don't want Mr. Inspector or the murder reward bill, because these points are sufficiently indicated in the river at the top. Therefore you can have an indication of the dustman in Mr. Inspector's place. Note, that the dustman's face should be droll, and not horrible. Twemlow's elbow will still go out of the frame as it does now, and the same with Lizzie's skirts on the opposite side. With these changes, work away!..."

PLATE LVIII

MONSIEUR DEFARGE AND DOCTOR MANETTE

_Facsimiles_ of the Original Studies by

MARCUS STONE, R.A.

These Studies were prepared for the First Cheap Edition of "A Tale of Two Cities."

_Lent by the Artist._

Before executing this drawing for the wrapper, the artist had received from Dickens a few general hints as to the points to be illustrated, beyond which he had little to guide him. "Give a vague idea," said the novelist, "the more vague the better." Mr. Stone desired to introduce Silas Wegg into his composition, but the description of the mercenary old ballad-monger was so indefinite that he was compelled to ask Dickens if he had absolutely decided in his own mind whether Silas's wooden leg was the right or the left one. Judging by his reply, the novelist had evidently overlooked this detail, for he said, "It's all right--please yourself;" whereupon the doubtful point was settled by the artist, who placed the timber limb on Wegg's left side. Mr. Stone recalls an interesting circumstance in the fact that Dickens laid special stress upon a certain incident which he desired should be hinted at by the artist in his design for the monthly cover. "One of the strongest features of the story," observed the novelist, "will be the death of Eugene Wrayburn after the assault by the schoolmaster. I think," he added, "it will be one of the best things I have ever done." Dickens, however, changed his mind, for Wrayburn does not die.

It is a recognised fact among illustrators of works of fiction that authors are usually devoid of what Mr. Stone aptly designates a sense of "pictorialism,"--that is to say, the subjects selected by them for illustration invariably prove to be unsuitable. Charles Dickens (according to Mr. Stone's experience) was a noteworthy exception to the rule, although he usually afforded the artist free scope in this matter, sending him the revised proof-sheets of each number, that he might make his own choice of the incidents to be depicted; and it is worthy of remark that in no instance did the novelist question the propriety of his selection. A preliminary sketch for each illustration was forwarded to Dickens, who returned it to the artist with suggestions, and with the title inscribed by him in the margin. The finished drawings upon the wood were never seen by the novelist, as they were dispatched by Mr. Stone to the engravers immediately on completion.

Mr. Marcus Stone affirms that he was much hampered by Dickens with respect to these designs, for the novelist, hitherto accustomed to the diminutive scale of the figures in Hablôt Browne's etchings, was somewhat imperative in his demand for a similar treatment of the illustrations for "Our Mutual Friend." The author, it seems, was usually in an appreciative mood whenever a sketch was submitted for approval, now and then favouring his illustrator with information that often proved indispensable. With reference to the drawing entitled "The Boffin Progress," he wrote: "Mrs. Boffin, as I judge of her from the sketch, 'very good indeed.' I want Boffin's oddity, without being at all blinked, to be an oddity of a very honest kind, that people would like." Concerning a second sketch for another proposed illustration, he observed: "The doll's dressmaker is immensely better than she was. I think that she should now come extremely well. A weird sharpness not without beauty is the thing I want." Towards the close of the first volume Dickens wrote to the artist from Paris the following letter respecting subsequent designs:--"The sooner I can know about the subjects you take for illustration the better, as I can then fill the list of illustrations to the second volume for the printer, and enable him to make up his last sheet. Necessarily that list is now left blank, as I cannot give him the titles of the subjects, not knowing them myself.... I think the frontispiece to the second volume should be the dustyard with the three mounds, and Mr. Boffin digging up the Dutch bottle, and Venus restraining Wegg's ardour to get at him.[47] Or Mr. Boffin might be coming down with the bottle, and Venus might be dragging Wegg out of the way as described."

Footnote 47: This subject was chosen.

The story, when concluded, was issued in two volumes, each containing twenty illustrations, engraved by Dalziel Brothers and W. T. Green in almost equal proportions. Mr. Marcus Stone regards these early efforts in black-and-white art as very immature, and believes he could have achieved greater results if he had been less handicapped by certain harassing restrictions. That these clever designs possess the charm of unconventionality is undeniable, while in addition to this they are marked by an originality of treatment which may be attributed to the fact that each drawing is the fruit of many careful studies of figures and accessories, these imparting an air of reality to the scenes depicted. Notable instances of this may be observed in the first frontispiece, entitled "The Bird of Prey," in which is represented a characteristic portion of the river-bank below London Bridge (probably Rotherhithe), and in the last engraving "Not to be Shaken Off," the snow-covered lock-gates in this illustration having been drawn from a sketch of the gates still existing on the Regent's Canal, Hampstead Road.

PLATE LIX

"BLACK AND WHITE"

_Facsimile_ of the Original Drawing by

MARCUS STONE, R.A.

This Study was prepared for the Library Edition of "American Notes."

_Lent by the Artist._

Mr. Stone enjoys the distinction of having introduced to Dickens's notice the original of that remarkable personage, Mr. Venus. Early in 1864, the artist was engaged upon a painting representing a "loafing" deserter being marched off under arrest, while some busy workmen temporarily suspend their labours in order to watch the military procession as it wends its way along a public thoroughfare.[48] The artist desired to introduce into the composition a begging dog, but, not succeeding to his own satisfaction, he consulted a brother-artist (well known for his clever delineation of animals), who said, "Why don't you go to Willis? He will soon find you a dog, and 'set him up' for you." Willis was a taxidermist, who lived on the north side of St. Andrew's Street, near Seven Dials, and to him Mr. Stone at once stated his requirements, with the result that in the course of a few days the stuffer of skins went to Mr. Stone's studio accompanied by a dog such as the artist had described. The animal being deemed suitable, its fate was sealed, and there is a touch of pathos in the recollection that the little creature made such friendly overtures to the artist during the interview that he felt very much averse to authorising its destruction. However, sad to relate, he hardened his heart, and the poor beast was "set up" accordingly. On the evening of the day when Mr. Stone first called upon Willis, and observed the strange environment resulting from the man's occupation, he was invited by Dickens to go with him to the play, and between the acts the novelist enquired if he knew of any peculiar avocation, as he wished to make it a feature of his new story,--"it must be something very striking and unusual," he explained. The artist immediately recalled Willis as he appeared when "surrounded by the trophies of his art," and informed Dickens that he could introduce him to the very thing. Delighted with the suggestion, the novelist appointed "two o'clock sharp" on the following day, for a visit to Willis. It happened that the man was absent when they called, but Dickens, with his unusually keen power of observation, was enabled during a very brief space to take mental notes of every detail that presented itself, and his readers were soon enjoying his vivid portrayal of that picturesque representative of a curious profession, Mr. Venus. The novelist was so elated by the discovery that he could not refrain from confiding the secret to Forster: "While I was considering what it should be," he wrote, "Marcus, who has done an excellent cover, came to tell me of an extraordinary trade he had found out, through one of his painting requirements. I immediately went with him to St. Giles's to look at the place, and found--what you will see."

Footnote 48: This picture, called "Working and Shirking," was
exhibited at the Royal Academy during the same year.

Mr. Stone visited Willis's shop two or three times for the purpose of sketching, in order that he might effectively introduce the more salient features into his drawing. The illustration gives an approximate representation of that dingy interior, with its "bones warious; bottled preparations warious; dogs, ducks, glass eyes, warious;" but, in delineating the proprietor, the artist did not attempt to give a true presentment of Willis, whom, by the way, Dickens never saw, and who never suspected that it was his own establishment which figures in the story.

In all the illustrations there is that happy delineation of character which indicates how admirably the artist understood his author. Perhaps the most successful designs are those where Rogue Riderhood appears, particularly that in which we behold the thankless ruffian at the moment of his recovery from "that little turn-up with Death;" while among other drawings deserving attention special mention must be made of those containing the quaint and pathetic figure of Jenny Wren, and of that entitled "The Boofer Lady," the latter denoting Mr. Stone's ability, even at this early date, in depicting a pretty woman,--an art in which he has since displayed such consummate skill.

PLATE LX

"TAKING LEAVE OF JOE"

_Facsimile_ of the Original Drawing for the Library Edition of "Great Expectations" by

MARCUS STONE, R.A.

In the engraved version of this Design, Pip is seen wearing a "bowler" hat.

_Lent by the Artist._

Mr. Marcus Stone claims the credit of bringing into repute the now universal custom of duplicating drawings upon wood-blocks by means of photography, his illustrations for Anthony Trollope's story, "He Knew He was Right," being the first thus treated. The adoption of this plan secures the preservation of the original designs, and therefore renders them available for comparison with the engraved reproductions. Mr. Stone, nevertheless, is by no means satisfied with the engraver's treatment of his work, nor is this surprising when we critically examine such deplorable examples of wood-engraving as instanced in the illustrations entitled "The Garden on the Roof" and "Eugene's Bedside." In one of the designs, that representing "The Boffin Progress," it will be noticed that the wheels on the "off-" side of the Boffin chaise are omitted, an oversight (explains Mr. Stone) for which the engraver is really responsible.

The original sketches for "Our Mutual Friend" were disposed of by the artist, many years ago, to the late Mr. F. W. Cosens, who desired to add them to his collection of Dickensiana. At the sale in 1890 of that gentleman's effects at Sotheby's, the series of forty drawings (some of which were executed in pen-and-ink and others in pencil) sold for £66, the purchaser acting for a well-known firm of American publishers. The drawings were subsequently bound up in a copy of the first edition of the story, and the treasured volume now reposes in the library of a New York collector.

[Sidenote: =Illustrations for Cheap Editions.=]

Mr. Stone is naturally best known as a Dickens illustrator through his designs for "Our Mutual Friend." In addition to these, however, he has essayed some illustrations (engraved on wood by Dalziel Brothers) for cheap issues of the works of the great novelist, of which the following is a complete list:--

LITTLE DORRIT--_First Cheap Edition_, 1861. Frontispiece.
GREAT EXPECTATIONS--_Library Edition_, 1862. Eight Illustrations.
PICTURES FROM ITALY--_Library Edition_, 1862. Four Illustrations.
AMERICAN NOTES--_Library Edition_, 1862. Four Illustrations.
A CHILD'S HISTORY OF ENGLAND--_Library Edition_, 1862. Eight
Illustrations.
A TALE OF TWO CITIES--_First Cheap Edition_, 1864. Frontispiece.

From this record it will be seen that (with the exception, perhaps, of the frontispiece for "A Tale of Two Cities") all the above-mentioned designs were executed prior to those for "Our Mutual Friend." It was hardly to be anticipated that Mr. Stone's pencil would rival the work of his more experienced contemporaries, yet it will be seen that these illustrations are characterised by the very essential quality of always telling their story. Mr. Stone much regrets that he never had the opportunity of doing himself justice in black-and-white Art. Needless to say, he revels in subjects appertaining to a bygone age, as they afford considerable scope for pictorial treatment, and one of the novels he would have most enjoyed to illustrate is "Barnaby Rudge," because of the picturesque period in which the story is laid. In response to my enquiry why he did not undertake the illustration of Dickens's next and final romance, "The Mystery of Edwin Drood," Mr. Stone explains: "I had entirely given up black-and-white work when 'Edwin Drood' was written, and was making an ample income by my pictures. I was not in the field at all." Indeed, black-and-white drawing possessed little to attract the young artist, who, preferring the more alluring charm of colour, had already begun to acquire a reputation as a painter. In 1877 he was elected an Associate of the Royal Academy, and ten years later was advanced to the full rank of Academician. During the last twenty years his most popular pictures have been his groups of interesting lovers and pathetic maidens; for, after exhibiting in eighteen Academy Exhibitions various presentments of human passion, he at last decided to limit himself to the one which makes the widest appeal to all sorts and conditions of men and women, such as those subtle domestic dramas in which love plays the leading _rôle_.

Mr. Marcus Stone's intimacy with Charles Dickens originated while his father, Frank Stone, and the novelist were living not more than a couple of houses apart; but it should be understood that the elder artist and the author of "Pickwick" were friends many years before they were neighbours. From the days of his childhood until the famous writer breathed his last, Mr. Stone spent a portion of every year of his life at Dickens's abode. "I saw him," he observes, "under the most natural and simple conditions, and my affection and regard for him were intense. Dickens was one of the shyest and most sensitive of men, as I have reason to know, for I saw him constantly at his own home, often for weeks together. He used to treat me as though I were his son. Nothing was more delightful than the way in which he shared our pleasures and pursuits. His influence was like sunshine in my life whilst his own lasted." Mr. Stone occasionally took part in private theatricals at Tavistock House, where the novelist had installed "The Smallest Theatre in the World," and the artist has pleasant recollections of his own share in the various plays, such as Planché's fairy extravaganza, "Fortunio," in which he impersonated the Captain of the Guard, and Wilkie Collins's "The Frozen Deep," where, as an Officer in the British Navy, he had but three words to say.

LUKE FILDES, R.A.

An Illustrator Required for "THE MYSTERY OF EDWIN
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

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._

"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._

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._

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._

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.

Mr. Luke Fildes having made so shrewd a guess respecting the important part to be played by Jasper in the story, Dickens thought fit to confide in him some details concerning the final scene. Principally, 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, Dickens (who evidently anticipated 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 illustration_--thus pretty clearly foreshadowing the conclusion of the story. "I want you to make as good a drawing," said Dickens, "as Cruikshank's 'Fagin 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 Illustration entitled "Mr. Grewgious has his Suspicions." _Vide_ "The Mystery of Edwin Drood."

_Lent by the Artist._

It was decreed, alas! that Mr. Fildes's visit to Charles Dickens's "little Kentish freehold" would never be realised while the great writer lived. On the morning of the appointed day, Dickens 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 Dickens 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 Dickens 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 Dickens 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 illustration and direct his entire attention to painting, with what success all the world knows. In 1879 he was elected an Associate 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 illustration-work for "Edwin Drood," might have caused the young artist some embarrassment. 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 Dickens himself many years ago. I have just copied his letter referring to it, which has never been out of my possession;" and from an accumulation 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 Dickens's forcible sentence under the title of his picture when printed in the Academy Catalogue.

Mr. Luke Fildes has many pleasant recollections of Charles Dickens 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 Dickens died, only three numbers of "The Mystery of Edwin Drood" had been published. The illustrations 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 titles 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 title-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.

This figure appears in the Illustration entitled "Up the River." _Vide_ "The Mystery of Edwin Drood."

_Lent by the Artist._

It will readily be conceded that Mr. Fildes's illustrations for Dickens's final romance are remarkable for a serious and sound draughtsmanship, while the life-like delineation of the various characters, as well as the pictorial exactitude of backgrounds and accessories, invite careful study and examination. Without unduly disparaging the excellent etchings by Cruikshank and "Phiz," it must be admitted that there is a vitality appertaining to Mr. Fildes's designs which imparts to them a reality not always discoverable in the illustrations produced by those admirable artists.

APPENDIX

I

ILLUSTRATORS OF CHEAP EDITIONS