MARCUS STONE, R.A.
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 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.