"The door was instantly opened." Runs the caption in the August 1891 issue of The Strand Magazine. There stands one Vincent Spaulding, who is of course, John Clay. I feel much like Holmes as my eyes fall immediately to the spot of most concern. Watson begins: "I am sure that you inquired your way merely in order that you might see him." "Not him." "What then?" "The knees of his trousers." They do seem somewhat darkened--although not a lot more than simple shadowing might lend.
His body is in full energetic 'instantly' motion, especially as compared to the typically static Holmes and Watson, who we'll get to in a tick. "A bright-looking, clean-shaven young fellow," indeed. He does seem a bit of a bright-faced rascal as pictured and stated. He stands engulfed in the darkness of the room behind him. This gives the effect of a tunnel, which is perfectly apt given the tale. He is situated below the sidewalk and our duo, which too is well-placed and played.
An odd position to find oneself in, when one considers oneself of noble blood. His name does speak to Mud(d), loosely and however.
Speaking to place: "A poky, little, shabby-genteel place." That's all handled fine by Paget. The white letters of JABEZ WILSON are spot on as to the text, as are the 'three gilt balls' (marking a pawnbroker). An aside as to text, the artificial knee company joke is one of my favorites of all canon, and quite in keeping with the theme of digging and trousers. You kneel long enough and you kneel beyond the need for new pants and into the realm of new joints. Just ask any baseball catcher or housemaid.
I made earlier mention of more Holmes and Watson thoughts within this illustration... It's all top hats, walking sticks, and the good doctor's modest mustache. Under that 'stache, he seems rather a cardboard cut-out, which I've also made earlier allusion to, and seems on-par with the (again) usual stylistically stiff depictions. Holmes bends at the waist in mainly a natural manner and in his taking in of trousers. Although his head does point straight forward and not downward.
As to composition, the weight at first blush seems tilted toward our clustered pair but then the full effect of that darkness surrounding Clay takes hold. And does-so in a rather ominous way. Another pair of impressions: how Clay's clothing seems rightly that of a fashion-plate younger man's. Also, the fading away at top enforces there's no story that high above-ground. In addition, there's a lot of sidewalk. We get it Paget. ::: very ::: terrestrial and sub-so, even.
I find this to be amongst my favorite of his Sherlock drawings simply because it's so in-tune with the story being told. Not that that's generally an issue, but here it is spectacularly done. Because of this, it incorporates itself deeply into the story. A thought, though. This seems to take place say around noon-time. Why does it look so dark? I understand the ravages of age on prints and reprints but suddenly the immense abyss behind John Clay becomes all the more poetic (license).
::: very :::