[48] This picture, called "Working and Shirking," was exhibited at the Royal Academy during the same year.
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Empty Chair"—A Visit to John Forster—A Curious Coincidence—Pleasing Reminiscences of Dickens—Mementoes of the Novelist—Unpublished Drawings for "Edwin Drood."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.