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._
[Illustration]
[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._
[Illustration]
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._
[Illustration]
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._
[Illustration]
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.