The Artist's Boyish Admiration of Dickens's Stories—His Delineation of Jo, the Crossing-Sweeper—A Present and a Letter from Dickens—First Success as a Painter—Death of his Father—Desires to Become an Illustrator of Books—Befriended by Dickens—Initial Attempt at Drawing upon Wood—Frontispiece for the First Cheap Edition of "Little Dorrit"—The Artist's DÉbut as a Black-and-White Draughtsman—His Designs for "Our Mutual Friend"—The Pictorial Wrapper—Suggestions from Dickens—Portrait of Silas Wegg—Preliminary Sketches for the Illustrations—Valuable Hints for the Artist—Realism in his Designs—The Prototype of Mr. Venus—Photography upon Wood—Defective Engraving—Sale of the Original Sketches—Illustrations for Cheap Editions—Relinquishes Black-and-White Drawing—Elected a Royal Academician—Popularity of his Pictures—Intimacy with Dickens—Private Theatricals.

It will be remembered that "A Tale of Two Cities," the last of Dickens's novels containing HablÔt Browne's designs, was succeeded by "Our Mutual Friend," the initial number of which appeared on May 1, 1864. In this story Dickens repeated an early experience in having woodcut illustrations instead of the customary etchings, availing himself of the services of an artist whose style and method of work differed very considerably from those of "Phiz." The new recruit was Mr. Marcus Stone, who now holds high rank among Royal Academicians.

Plate LVI

MARCUS STONE, R.A.
From a Photograph specially taken for this Work by
JAMES HYATT

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."

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 [Pg 193]
[Pg 194]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."

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.

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.

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[Pg 197]
[Pg 198] 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."

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 follow[Pg 199]
[Pg 200]ing 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."

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.

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.