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 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."