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Updated: May 2, 2025
Datchery wore "a tightish blue surtout, with a buff waistcoat and grey trousers; he had something of a military air." The young man in the vault has anything but a military air; he shows no waistcoat, and he does not wear "a tightish blue surtout," or any surtout at all. The surtout of the period is shown, worn by Jasper, in Sir L. Fildes's sixth and ninth illustrations.
The young man is EDWIN DROOD, of the Grecian nose, hyacinthine locks, and classic features, as in Sir L. Fildes's third illustration. Mr. Proctor correctly understood the unmistakable meaning of this last design, Jasper entering the vault "To-day the dead are living, The lost is found to-day." Mr. Cuming Walters tells us that he did not examine these designs by Mr.
"Take it as a warning," Jasper says, but Edwin, puzzled, and full of confiding tenderness, does not understand. In the next scene we meet the school-girl, Rosa, who takes a walk and has a tiff with Edwin. Sir Luke Fildes's illustration shows Edwin as "a lad with the bloom of a lass," with a classic profile; and a gracious head of long, thick, fair hair, long, though we learn it has just been cut.
Sidney Starr relates that Whistler was asked one year to "hang" the exhibits in the Walker Art Gallery at Liverpool. In the center of one wall he placed Luke Fildes's "Doctor," and surrounded it with all the pictures he could find of dying people, convalescents, still-life medicine bottles, and the like. This caused comment.
Malcolm, who loaded her with presents, had himself selected the handsomely framed prints that adorned the walls; his favourite "Huguenot," and "The Black Brunswicker," and Luke Fildes's "Doctor," and some of Leader's landscapes, had their places there.
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