The original sketch of Milly on the chair has fortunately been preserved, and has been kindly lent for reproduction by Mr. Marcus Stone, R.A. The drawing of the old man in the published engraving is hardly so satisfactory as the delineation of him in the sketch. The second illustration, "Milly and the Student," was duly executed; it is a very graceful design, the pose of the male figure being excellently rendered. Respecting the third illustration, the novelist communicated to the artist the following facts, to assist him in realising the principal theme:—

"There is a subject I have written to-day for the third part, that I think and hope will just suit you. Scene—Tetterby's. Time—morning. The power of bringing back people's memories of sorrow, wrong, and trouble has been given by the ghost to Milly, though she don't know it herself. As she comes along the street, Mr. and Mrs. Tetterby recover themselves and are mutually affectionate again, and embrace, closing rather a good scene of quarrel and discontent. The moment they do so, Johnny (who has seen her in the distance and announced her before, from which moment they begin to recover) cries 'Here she is!'and she comes in, surrounded by the little Tetterbys, the very spirit of morning, gladness, innocence, hope, love, domesticity, &c. &c. &c. &c.

"I would limit the illustration to her and the children, which will make a fitness between it and your other illustrations, and give them all a character of their own. The exact words of the passage I enclose on another slip of paper. Note: There are six boy Tetterbys present (young 'Dolphus is not there), including Johnny; and in Johnny's arms is Mulock, the baby, who is a girl.... Don't wait to send me the drawing of this. I know how pretty she will be with the children in your hands, and should be a stupendous jackass if I had any distrust of it...."

(Slip of paper enclosed.)

"'Hurrah! here's Mrs. Williams!' cried Johnny.

"So she was, and all the Tetterby children with her; and as she came in, they kissed her and kissed one another, and kissed the baby, and kissed their father and mother, and then ran back and flocked and danced about her, trooping on with her in triumph.

"(After which she is going to say, 'What, are you all glad to see me too! Oh, how happy it makes me to find every one so glad to see me this bright morning!')"

The amateur theatricals brought author and artist constantly together, Frank Stone being an actor of some ability. The immortal Mrs. Gamp, in describing the members of that famous company of players, alludes to Frank Stone as "a fine-looking portly gentleman, with a face like an amiable full moon." He became the recipient of many nicknames, that of "Pump" (or "Pumpion") being one by which Dickens sometimes addressed him, and it was both pleasantly intended and jocularly received. In 1849 the artist painted the portrait of the novelist's fifth son, Lieutenant Sydney Dickens, who was buried at sea in 1872, his death being due to a sharp attack of bronchitis when on his way home.

Frank Stone exhibited at the Society of Painters in Water-Colours from 1833 to 1846, and was elected a member of that Society in 1842. He first exhibited at the Royal Academy in 1838, his election as an Associate taking place in 1851. The artist, on receiving a commission from Dickens for a picture, painted a presentment of "'Tilda Price," the fiancée of the genial John Browdie in "Nicholas Nickleby," the picture realising the sum of £42 at the sale of the novelist's effects in 1870. This and two other paintings by Stone (portraits of Kate Nickleby and Madeline Bray) were engraved on steel by Finden, and published ("with the approbation of Charles Dickens") by Chapman & Hall in 1848; the plates were intended for insertion in the first cheap edition of "Nicholas Nickleby." Besides his illustrations for "The Haunted Man," he also designed the frontispiece for the first cheap edition of "Martin Chuzzlewit" (1849), which depicts Mark Tapley on the sick-bed; this drawing was engraved on wood by T. Bolton.

The sudden death of Frank Stone in 1859 caused Dickens heartfelt sorrow. "You will be grieved," he wrote to Forster on November 19, "to hear of poor Stone. On Sunday he was not well. On Monday went to Dr. Todd, who told him he had aneurism of the heart. On Tuesday went to Dr. Walsh, who told him he hadn't. On Wednesday I met him in a cab in the Square here [Tavistock Square], and he got out to talk to me. I walked about with him a little while at a snail's pace, cheering him up; but when I came home, I told them that I thought him much changed, and in danger. Yesterday at two o'clock he died of spasm of the heart. I am going up to Highgate to look for a grave for him."

SIR EDWIN LANDSEER, R.A.

First Acquaintance with Dickens—Designs an Illustration for "The Cricket on the Hearth"—Elected a Royal Academician—Receives the Honour of Knighthood—Declines the Presidency of the Royal Academy—Severe Illness and Death.

Charles Dickens first became acquainted with Sir Edwin Henry Landseer during the "Nickleby" period, and ever entertained the highest admiration and personal regard for this famous artist, to whom Thackeray once referred as "a sort of aristocrat among painters." Sir Edwin was an artist by hereditary right and family instinct, being the eldest son of the well-known engraver, John Landseer, A.R.A. He was born in London in 1802, and at the age of thirteen exhibited two pictures at the Royal Academy, thus proving that he possessed most exceptional powers as a draughtsman even at this early period.

The Cricket on the Hearth, 1846.It is perhaps not generally remembered that Sir Edwin Landseer has a just claim to be numbered among the Illustrators of Dickens. Though he made but a single design, it is indubitably a masterpiece, and suffices to indicate the admirable skill acquired by this great painter in depicting what may be considered his favourite subject—the dog. The charming little woodcut of "Boxer"—the irrepressible companion of John Peerybingle, in "The Cricket on the Hearth"—defies criticism.

Plate LIII

SIR JOHN TENNIEL, R.I.
From a Photograph by
Messrs. BASSANO

SIR EDWIN LANDSEER, R.A.
From the Painting by
Sir FRANCIS GRANT, P.R.A.

SAMUEL PALMER

A Self-taught Artist—Exhibits at the British Institution and the Royal Academy—Marriage with John Linnell's Daughter—Visits Italy—His Sketches of Italian Scenery—Elected an Associate, and afterwards a Member, of the Society of Painters in Water-Colours—An Etcher and Draughtsman on Wood—His Designs for "Pictures from Italy"—A Letter from Dickens—The Artist's Method of Work—The Villa D'Este—His Drawings Difficult to Reproduce—Elaborate Instructions to Engravers—Literature a Favourite Amusement—Fondness for Reading Aloud—Admires the Novels of Dickens—Illness and Death.

During Charles Dickens's very brief connection with the Daily News, at the time of its foundation in 1846, he contributed to its columns a series of "Travelling Sketches," descriptive of his experiences in Italy, and of his impressions concerning the scenery, institutions, and social aspects of the people in that beautiful country. Shortly after the publication of the concluding paper, these "Sketches" were re-issued in book form, under the title of "Pictures from Italy," with vignette illustrations on wood by Samuel Palmer.

Plate LIV

F. W. TOPHAM
From a Photograph by
Messrs. ELLIOTT & FRY

SAMUEL PALMER
From a Photograph

Samuel Palmer is chiefly remembered by his charming water-colour drawings, but it seems that in his early years he preferred painting in oils, whence he afterwards gradually drifted into the use of the former medium, his election as Associate of the Society of Painters in Water-Colours in 1843[43] determining his future career. He was a most successful etcher, his plates being admired by the connoisseur for the beauty of technique therein displayed. Concerning his efforts with the needle, Mr. P. G. Hamerton says that Samuel Palmer was one of the most accomplished etchers who ever lived, and that "there is more feeling, and insight, and knowledge in one twig drawn by his hand than in the life's production of many a well-known artist."[44] It must be admitted, however, that the occasional drawings executed by him for the wood-engraver do not indicate equal ability as a draughtsman on wood. In early days he actually attempted, in emulation of his intimate friend Edward Calvert, to engrave upon wood some of his own designs, this fact testifying to the extraordinary influence exercised by William Blake over the contemporary work of such young artists as Palmer, Calvert, and the rest of the "Ancients," as they jocosely dubbed themselves.

Pictures from Italy, 1846.The first drawings executed upon the wood-block by Palmer and intended as book-illustrations were apparently the designs for "Pictures from Italy;" these are four in number, representing the Street of the Tombs, Pompeii; the Villa D'Este at Tivoli, from the Cypress Avenue; the Colosseum of Rome; and a Vineyard Scene. One of the artist's memorandum-books contains an entry recording the receipt from the publishers of twenty guineas for these drawings. Samuel Palmer and Charles Dickens were never on terms of intimacy; however the acquaintance originated has never transpired, nor does the artist's son, Mr. A. H. Palmer, remember his father ever referring to the subject. It is probable that the novelist's attention had been directed to Palmer's excellent rendering of Italian scenery, which had attracted considerable notice among artists, and that, having met him, he found a degree of warm enthusiasm for that scenery which was so unusual, that he felt convinced that the illustrating of the "Pictures" could not be placed in better hands. Palmer accepted the commission, but, like all his drawings that were destined to be engraved on wood, it somewhat perplexed him, for reasons presently to be explained. A correspondence of a formal business character ensued, and of the few letters still extant I am enabled to print the following, which endorses the belief that an interview had taken place between author and artist.

"Devonshire Terrace,
Wednesday, Thirteenth May, 1846.

"Dear Sir,—I beg to assure you that I would on no account dream of allowing the book to go to press without the insertion of your name in the title-page. I placed it there myself, two days ago.

"I have not seen the designs, but I have no doubt whatever (remembering your sketches) that they are very good.

"Dear sir, faithfully yours,
"Charles Dickens.

"Samuel Palmer, Esq."

Two of the woodcuts, viz., those printed on the first and last pages of the little book, were designed to allow the text to be dropped in. Sketches (or rather finished drawings) were made on paper before the subjects were copied by the artist upon the wood-blocks, which drawings, by the way, are much inferior to the artist's water-colours of the same or similar subjects. It seems evident, from the word "On" being tentatively introduced at the top of the original sketch of the Villa D'Este, that this illustration was at first intended to be placed at the beginning of the chapter entitled "Going through France," instead of appearing (as it eventually did) in conjunction with the opening lines of the preliminary chapter,—"The Reader's Passport." It was apparently Palmer's proposal to insert on the block a decorative letter "S," but Dickens, in a letter to the artist, says, "I am afraid I cannot comfortably manage an S. What do you say to the word 'On'? Could you possibly do that?"

With regard to the treatment of these illustrations, there is no doubt that they are faithful representations of Nature, adapted from sketches made on the spot. As a matter of fact, it was directly contrary to the artist's habit and principles to transcribe a sketch detail for detail. Although the character of his drawing was somewhat involved, rendering more difficult the work of the engraver, the woodcuts (which bear no signature) are most carefully executed. Notwithstanding this, Mr. A. H. Palmer assures me that these designs, and the rendering of them by the wood-engraver, were not of a kind to which the artist could look back with much satisfaction.

Mr. A. H. Palmer still retains in his possession a drawing on wood by his father of the Villa D'Este, the second illustration in "Pictures from Italy," which was apparently discarded because the artist had omitted to reverse his design, and therefore could not be properly adapted to the particular page for which it was prepared. Those who are familiar with the freedom and vigour of Samuel Palmer's work from Nature will realise at a glance that he was not at his ease upon wood. In the margin of this drawing the artist pencilled the following instructions to the engraver, who had not entirely succeeded in producing the more subtle effects:—

"I wish the thin cypress to be very much as it appears upon the block—not lighter. Now that the trees have been darkened, it will be necessary to leave the lines of the building quite as thick as they are drawn, letting them gradually gain more strength as they come downwards towards the steps. The degree of sharpness with which the drawing terminates toward the letterpress is just what I wish."

From this and the following notes, minutely written upon the two retouched proofs of the engraving of this subject, we discover how very much too sanguine the artist was as to the result of the translation of his work, the voluminous directions clearly indicating his solicitude respecting the treatment of microscopic details in his design, the alleged importance of which would be quite beyond the comprehension of an ordinary engraver. Palmer subsequently learnt by experience that his drawing on wood was practically untranslatable as he preferred to offer it for engraving.

MS. Notes on the First Proof.

"(1.) In both proofs the top of the cypress is very indistinct, which greatly injures the design.

"(2.) From A to B the illuminated side of the cypress has lost its tint in both impressions, which is ruinous to the effect, as the eye can no longer follow it as a simple object distinct from the building from the top to the bottom of the design. The top of the building, too, in both impressions, is nearly invisible, as if the inking had failed. It is very important that this should be rectified, so as not to appear in the printing of the work, as otherwise it will spoil the whole work. I have worked upon building and cypress a little in pencil to show how they ought to have come even in a faint impression.

"(3.) Opposite this mark the light on the cypress stems has been carried down a little lower, and two or three fine threads of light have been introduced into the shadowed side (which are intended to be scarcely perceptible) to remove a blottiness in the dark.

"(4.) The touches on the steps, the statue, and the whole of the lower part of the trees and ground, though not very numerous, are very important to the finish of the foreground.

"(5.) The darkest lines in the great vase have been thinned in the slightest degree.

"(6.) Close to C the thickness of a black line on the edge of the cypress has been split.

"(7.) From E down to F a minute speck of light has here and there been inserted on the outline of the cypress foliage to split some blots of dark which will be seen on the untouched proofs, and which were rather harsh.

"(8.) The light flashing on the steps ought to make thinner without removing the outline of the arm of the statue. The foot resting upon the pedestal should be indicated. The action of the other leg thrown back is shown in the retouching by the removal of the black line.

"(9.) The getting the upper part of the slender cypress of as full a tint as I have given it here seems to me so important that if it can be done in no other way, I think a piece should be inserted into the block to effect it. In the drawing on the block it was like this, which I have retouched with pencil."

Plate LV

"THE VILLA D'ESTE"
Facsimile of an Original Design for "Pictures from Italy" by
SAMUEL PALMER

Samuel Palmer took a still keener delight in Literature than he did in Art. An insatiable but punctilious reader, the novels of Dickens and Scott were among the very few works of fiction which he read aloud to members of his own household. Mr. A. H. Palmer informs me that he has known his father to be so engrossed by reading aloud one of Dickens's finer and more exciting passages, that the announcement and entry of a visitor served to stop the reading only for a few moments; the crisis past, he laid down the book and apologised. Literature, indeed, constituted the chief pleasure of his simple life—a life that, at one period at least, would have been almost insupportable without the consolation afforded by books. Early in May, 1881, he became, alas! too ill to work, and on the twenty-fourth of that month he passed peacefully away, leaving behind him a reputation which is blameless.

F. W. TOPHAM

Illustrations for "A Child's History of England"—Begins Life as a Writing-Engraver—Designs for Books—Exhibits at the Royal Academy—Elected an Associate of the New Society of Painters—Retires from the Society—Elected a Member of the Old Society of Painters in Water-Colours—First Visit to Spain—Fatal Illness—Some Pictures Inspired by Dickens's Stories—Histrionic Ability—The Artist as a Juggler.

A Child's History of England, 1852-53-54.During the years 1851-52-53, there appeared in the pages of Household Words one of Charles Dickens's less familiar writings, "A Child's History of England." On its completion as a serial, the little work was issued in three 16mo volumes, each containing a frontispiece by F. W. Topham. These illustrations were engraved on wood, each consisting of a circular design, printed in black, and surrounded by an ornamental border of a light mauve colour, the latter enclosing familiar scenes from English History, viz., Alfred in the Neatherd's Cot; Canute reproving his Courtiers; Edwy and Elgiva; Eleanor and Fair Rosamond. The decorative border with its four tableaux remained unchanged, but the subject of the central illustration varied, that in the first volume depicting a girl reading to two children; in the second, Alfred the Great receiving instruction in reading from his mother, Queen Osburgha; while in the third there is a more modern representation of a similar incident.

Francis William Topham, who was born at Leeds in 1808, enjoyed the privilege of being numbered among the personal friends of Charles Dickens. He entered professional life as a writing-engraver, and his first design was for a label required by a well-known firm of pin manufacturers. From this modest beginning he advanced to more artistic work, and was soon busily engaged in engraving plates for pocket-books, &c. During the several years he was thus occupied he engraved many original designs for book-illustrations, and in 1832 began to exhibit pictures; his works after this date being frequently seen at the Royal Academy and other London galleries. In 1842 he was elected an Associate of the New Society of Painters in Water-Colours, of which body he became a full member in the following year. He, with several other members, left the New Society after a comparatively short time, and was immediately elected into the Old Society of Painters in Water-Colours—the present Royal Water-Colour Society—to the Exhibitions of which the majority of his more important productions were contributed. It was in Spain, whither he first went in 1852-53, that he found subjects most congenial to his tastes, and there, in that land of sunny skies, he was seized with a fatal illness in 1877, expiring at Cordova on March 31st of that year.

Topham was a great admirer of the works of Charles Dickens, and selected from them the subjects of some of his most successful pictures. One of these—a water-colour drawing executed in 1851—illustrates a scene in "Barnaby Rudge," where children flock round the half-witted hero as he and his mother pass through her native village; the drawing was presented by the artist to Dickens, and realised at the sale of the novelist's effects the sum of £115, 10s. This picture was followed by another from "The Old Curiosity Shop," representing Little Nell and her Grandfather in the tent, making bouquets for the racecourse, which was also a gift to Dickens, being subsequently disposed of at the above-mentioned sale for £288, 15s. It is also recorded that the artist, in 1856, produced a drawing portraying "Little Nell in the Churchyard," which some five years after the novelist's death found a purchaser for £325, 10s.

F. W. Topham proved a welcome addition to Dickens's company of distinguished amateur actors, and concerning his histrionic ability the artist's son, Mr. Frank W. W. Topham (himself an eminent painter), thus writes: "My father had, from quite a young man, a great love of acting, at which he was considered unusually good. One of my earliest recollections of a play was one acted at the St. James's Theatre, in which my father, Sir John Tenniel, the late Francis Holl, A.R.A. (the engraver), and others took part, for the benefit of the Artists' Benevolent Fund. I do not know if my father owed his introduction to Dickens to his acting, but have an impression that he did,—certainly it was the cause of their after intimacy."

Apropos of their "splendid strolling," and the fun incidental thereto, Dickens observed to his wife, in a letter dated from Clifton, November 13, 1851: "I forgot to say that Topham has suddenly come out as a juggler, and swallows candles, and does wonderful things with the poker very well indeed, but with a bashfulness and embarrassment extraordinarily ludicrous."

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.

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.

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.

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.