folio 
 ND 
 497 
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 B3 
 
 1896 
 

W&m 
 
A R C U S 
 
 R. A. 
 
 HIS LIFE AND WORK 
 
Digitized by the Internet Archive 
 in 2016 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/lifeworkofmarcusOObald 
 
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THE ART ANNUAL, 1896 
 
 THE LIFE AND WORK 
 
 MARCUS STONE, R.A. 
 
 BY 
 
 ALFRED LYS B A L DRY 
 
 AUTHOR OF 
 
 “THE LIFE OF ALBERT MOORE,” ETC. 
 
 WITH 
 
 NUMEROUS ILLUSTRATIONS 
 
 LONDON : 
 
 THE ART JOURNAL OFFICE, 26, IVY LANE, PATERNOSTER ROW 
 
 Christmas, 1896 
 
A Honeymoon, By Marcus Stone, R.A. (p. 24.) 
 
 Bv permission of Mr. Arthur Lucas, Publisher of the Large Plate. 
 
 MARCUS STONE, R.A. 
 
 INTRODUCTORY. 
 
 HP HERE is always a 
 -L certain difficulty in 
 attempting to define tlie 
 position in tlie history of 
 Art to which a well- 
 known and popular artist 
 is entitled. So many ap- 
 parently trivial matters 
 have to be considered, and 
 such an array of details 
 great and small has to be 
 weighed and analysed, 
 that anything approach- 
 ing a clear conclusion is 
 only to be reached by a 
 rather elaborate process 
 of examination. The 
 difficulty is, if anything, greater in the case of a living 
 man who, in full tide of success, is a prominent figure 
 in the artistic community. His work cannot be sum- 
 marised because it is not completed ; his pedestal cannot 
 be assigned to him because it is still in process of con- 
 struction. He is actively producing, adding year by 
 year to the list of his achievements, developing, perhaps, 
 in unexpected directions and making unforeseen digres- 
 sions into walks of Art that he has not habitually trodden . 
 He may be an experimentalist whose inclination leads 
 him to wander over a very wide area, and of whose do- 
 minor, t conviction there may be comparatively little 
 evidence. Art may in his case mean a balancing of 
 opposite beliefs, to one or the other of which he may 
 
 tend as he is sw'ayed by the influences of the moment. 
 To define his views would be impossible, for they have 
 not in his mind become crystallised, and have not taken 
 such a form that they can be codified and assorted. 
 
 Fewr men, indeed, if they are sincere in the pursuit of 
 
 Sketch of Boulogne Fish Girl. 
 
 By Marcus Stone, R.A. (p . 25,) 
 
2 
 
 THE ART ANNUAL. 
 
 Art, would ever admit 
 that tlieir aesthetic con- 
 viction was more than a 
 general faith in certain 
 fundamental principles of 
 practice. A preference for 
 particular classes of sub- 
 ject, a desire to treat in 
 an individual manner the 
 motives which may be 
 derived from study of 
 special phases of nature, 
 even a liking for well-de 
 fined technical devices 
 they may conceivably pro- 
 fess ; but, for the most 
 part, they pride them- 
 selves upon preserving to 
 the last day of their lives 
 that receptivity and that 
 susceptibility to new im- 
 pressions which are the 
 two chief essentials in the 
 maintenance of aesthetic 
 vitalitj'. So long as these 
 qualities remain to them, 
 their place in the Art 
 world must coutinue to 
 be but a matter for spe- 
 culation. It cannot be 
 fixed, because at any mo- 
 ment some new subject 
 for investigation may 
 fascinate them and lead 
 them aside in search of 
 fresh discoveries. With 
 a career so controlled, a 
 final judgment, which'will 
 make exact placing possible, can only be delivered after 
 the collation of all the evidence which is to be obtained 
 from a comparison of the various styles in which that 
 artist may have worked, and from a consideration of the 
 conditions under which his life was passed. When his 
 labourshaveceased, 
 all that he has pro- 
 ducedean be gather- 
 ed up and its value 
 duly appraised ; this 
 success can be set 
 down to his credit, 
 that failure counted 
 against him ; some 
 of his best work has 
 to be discounted be- 
 cause its merits were 
 increased by assist- 
 ance he received, 
 some of his worst 
 excused because it 
 was affected by some 
 temporary hin- 
 drance. When the 
 final balance is 
 struck, it must be 
 compared with the 
 estimate which 
 from the first he had 
 in his own mind, the 
 calculation of his 
 
 Wild Flowers. 
 By Marcus Stone, R.A. 
 By permission of Messrs. 
 
 Valadon &■ Co. 
 
 (P- 32 .) 
 Boussod, 
 
 professional chances that 
 his subsequent perform- 
 ance had to prove to be 
 reasonable. And by this 
 comparison, the sum total 
 of his production is set- 
 tled ; his accounts have 
 then been audited by 
 the experts in whom the 
 public put their faith, and 
 the net result is passed as 
 correct. 
 
 In the case of an artist 
 like Mr. Marcus Stone, no 
 such finality of balancing 
 is practicable. Happily 
 lie is still among us, an 
 active worker to whom 
 the possibilities of his 
 profession remain open, 
 lie is not even an old 
 man with beliefs at last 
 fixed and formulated be- 
 yond the likelihood of 
 change. Despite the fact 
 that his continuous re- 
 cord of appearances in the 
 Academy exhibitions 
 covers a period of nearly 
 forty years, he is still in 
 the prime of life. 
 
 Changes of style, and di- 
 vergences into branches 
 of practice that he has 
 hitherto left untouched, 
 are quite to be expected 
 of him ; and all the more 
 because he is a keen ob- 
 server of Art movements, and attentive to new develop- 
 ments. So long as he retains the power and the incli- 
 nation to concern himself about these ebbings and flow- 
 ings of opinion, there is alwaj-s the chance that he may 
 find himself one day inclined to go with the tide, and 
 
 prepared to modify 
 his own theories and 
 
 — , practices, so as to 
 
 bring the m into 
 agreement with that 
 particular set of the 
 stream which seems 
 to him to be irresis- 
 tible. 
 
 This chance is to 
 a certain extent in- 
 creased by the fact 
 that he has already, 
 in his professional 
 life, gone through 
 several phases. He 
 has by no means con- 
 fined himself to one 
 class of production, 
 but has ranged about 
 seeking his ideals 
 nowin one quarter, 
 now in another. 
 What first attracted 
 him was a species of 
 military genre, and 
 
 Garden Flowers. 
 
 By Marcus Stone, R.A. (p. 22 .) 
 By permission of Messrs. Boussod, 
 Valadon Co. 
 
 A Preliminaiy Sketch for ‘In Love.' 
 
 By Marcus Stone, R.A. (p. 22.) 
 
Bright Summer. By Marcus Stone, R.A. (p. 2 .|.) 
 
 Copyright , 1895 , by Photographische Gesellscha/t. By permission of the Berlin Photographic Co., London, W ., Publishers of the Large Plate. 
 
4 
 
 THE ART ANNUAL. 
 
 later he turned to historical 
 subjects treated in a some- 
 what free and unconven- 
 tional manner. Sentiment, 
 too, occupied him largely 
 at one time and he painted 
 several pictures in which 
 the motive was the telling 
 of a pathetic story, or the 
 representing of an emo- 
 tional moment which gave 
 opportunity for dramatic 
 grouping and arrangement. 
 
 It was at a comparative^ 
 recent date that he found 
 his way into the class of 
 subjects by which in the 
 present day he is best 
 known — subjects that afford 
 him scope for that particular 
 combination of subject 
 matter and manner of ex- 
 pression, which has gained 
 him his wide following 
 among modern Art lovers. 
 
 It is probably by these 
 productions of his middle 
 life that his artistic posi- 
 tion will chiefly be settled 
 later. They have a definite 
 individuality, a character 
 of their own which sepa- 
 rates them from the work of his contemporaries, and 
 gives them a distinct place among the illustrations of the 
 many opinions held to-day in that exceedingly composite 
 
 body which we call the 
 British School. Whatever 
 may be the coming deve- 
 lopments of Mr. Marcus 
 Stone’s aestheticism, it can- 
 not be denied that the form 
 in which it is now being 
 manifested is one that very 
 many people find persuasive 
 if not convincing. His pic- 
 tures are popular because 
 they unite daintiness of sen- 
 timent with attractiveness 
 of setting and arrangement. 
 They are painted not to ap- 
 peal to any craving for sen- 
 sationalism, but to present 
 in as fascinating a form as 
 possible those events in 
 which all classes are inte- 
 rested because of their com- 
 mon possession of a certain 
 range of human emotions. 
 We are naturally attracted 
 by the pictorial rendering 
 of what we know well. 
 Whether it is a familiar 
 place, a scene from a phase 
 of life with which we have 
 been in contact, or a face 
 that we recognise as that ol 
 a friend, is quite immate- 
 rial ; what appeals to us is the familiarity of the subject, 
 and we accept the picture because we understand what 
 it is about. 
 
 Sketch for ‘ A Passing Cloud.' 
 
 By Marcus Stone, R.A. (p. 24.) 
 
 In the Shade. By Marcus Stone, R.A. (p. 21.) 
 
 Bv permission of Messrs. C . E. Clifford <$r Co., Publishers of the Large Plate. 
 
MARCUS STONE , R. A. —INTRODUCTORY. 
 
 5 
 
 Realism, indeed, as it is understood by the public, 
 covers a very much wider area than artistic opinion would 
 allow to it. It includes not merely exactness and uncom- 
 promising-literalness of statement, but, as well, adherence 
 in selection to whatever subject matter is fully accessible 
 for general study. While artists apply the term onty to 
 a particular manner of interpreting the facts of nature, 
 untechnical people use it in a less restricted way, and 
 hold pictures to be realistic because without necessarily 
 reflecting nature they de- 
 pict every-day incidents, 
 and make intelligible work- 
 ings of the mind, of which 
 at some period of their lives 
 they have themselves been 
 conscious. What they re- 
 cognise and welcome, are 
 pictorial situations which 
 remind them of their own 
 sensations under conditions 
 similar to those which the 
 painter has imposed upon 
 his characters. The reality 
 over which they rejoice may 
 quite possibly be non-exis- 
 tent ; it may be an entirety 
 imaginary quality not war- 
 ranted by any fact in the 
 picture, but resulting sim- 
 ply from their willingness 
 to find in the painted drama 
 whatever satisfaction of 
 their own sentimental crav- 
 ings they desire ; whether 
 it exists or not, however, 
 they adore the painting and 
 delight in its story just so 
 far as their imaginations 
 will carry them. If the}' 
 are so fortunate as to be 
 saved by the artist the need 
 for an excessive amount of 
 make-believe, they are pro- 
 portionately grateful, and 
 pay him the tribute of un- 
 limited popularity. 
 
 To this tendency of the 
 general public is surety to 
 be ascribed not a little of 
 the enthusiasm which they 
 accord to the canvases of 
 Mr. Marcus Stone. He is 
 certainty not a realist in the 
 professional sense, for he 
 paints a world of his own 
 which boasts a presiding 
 genius with a most delicate 
 and placid disposition. No- 
 thing of nature’s literal- 
 ness is allowed to obtrude within the precincts of the 
 enchanted garden wherein the beings he represents 
 pass their quiet lives. No jarring fact appears to make 
 discord in the harmony of their existence. The whole 
 atmosphere is fragrant with sweet odours, and the sun 
 shines with a brilliance that no cloud ever dims. But 
 the artificiality of this ideal world is not apparent because 
 the entire creation is a consistent one. It is generally 
 acceptable because it recalls to so many people the rare 
 moments when they have found themselves untroubled 
 
 by cares, when the world has seemed bright and hopeful, 
 and when garlands of flowers have veiled the hard 
 outlines of modern life. 
 
 And the people that Mr. Marcus Stone paints are always 
 in keeping with their surroundings. They are beautiful 
 types of humanity, picturesque in dress and pose, undis- 
 turbed by any sordid emotions, and they take their places 
 in the landscape just as pictorial exigencies require. 
 They are so obviously at home that every onlooker feels 
 
 as if a special opportunity 
 of watching the manners 
 and customs of dainty do- 
 mesticity were being ac- 
 corded him. Their lovers’ 
 quarrels and reconciliations, 
 their partings and welcomes, 
 and all the other small 
 events of their placid lives, 
 are presented -with a gentle 
 suggestion of property or- 
 dered passion which recog- 
 nises the importance of 
 obeying the laws of self- 
 repression laid down by 
 good society. All these 
 youths and maidens are 
 eminently well-bred, and no 
 digression into mere vio- 
 lence of feeling ever spoils 
 the even tenor of their 
 way. They are attractive 
 to the picture viewer be- 
 cause of the happy agree- 
 ment which they maintain 
 between their appearance 
 and their humanity. They 
 behave not only as they 
 should, but also as every 
 lover of good manners 
 would have them behave. 
 They are, in fact, consistent, 
 and consistency is a virtue 
 which we are all glad to ap- 
 prove in other people. So 
 it is quite intelligible that 
 the popular voice should 
 acclaim Mr. Stone when he 
 devotes himself to the pro- 
 duction of a class of Art 
 which combines successfully 
 the charm of human per- 
 sonality, the beauty of good 
 manners, and the fascina- 
 tion of an essentially pictu- 
 resque setting. The con- 
 gruity of the whole is satis- 
 fying, and by its very com- 
 pleteness produces an effect 
 of reality. 
 
 From the standpoint of more exacting criticism, how- 
 ever, there cannot be denied to the artist great credit for 
 the effort that he has made to find a way for himself in 
 Art. He has steadily worked through the course oi 
 ordinary motives to which he committed himself in his 
 youth, and has abandoned the demonstrative subjects 
 which occupied him at the outset for others of a more 
 restrained and specialised kind. What has resulted is 
 certainty individual, a view of nature which owes little to 
 study of other men’s work ; and a deliberate intention 
 
 An Offer of Marriage. 
 
 By Marcus Stone, It .A . {p. 22.) 
 By permission of Messrs. Boussod, Valadon dr Co., 
 Publishers of the Large Plate. 
 
6 
 
 THE ART ANNUAL. 
 
 in aesthetics which has a character of its own very 
 pleasantly apart from the mass of contemporary en- 
 deavour. The dominant idea in all his later pictures is 
 the expression of suave and elegant beaut}'. He strives 
 for a particular charm of flowing line and graceful form, 
 and he carries the same effort to please by elimination of 
 everything discordant into both the designing of his 
 subjects and the arranging of his colour schemes. He 
 has somewhat the sort of purpose which guided Watteau 
 in the perfecting 
 of his exquisite 
 artificialities; but 
 being a nineteenth- 
 century painter he 
 allows himself to 
 be affected by the 
 modern craving for 
 story - telling in 
 brief. Watteau was 
 simply a recorder 
 of the artificial ha- 
 bits of the societj - 
 in which he found 
 himself, an illus- 
 trator who with 
 marvellous tech- 
 nique depicted the 
 pretty social func- 
 tions that he saw' ; 
 
 Mr. Marcus Stone 
 is a pictorial teller 
 of short stories that 
 have picturesque 
 motives, and is al- 
 ways in search of 
 w'hatever material 
 will give him, with- 
 in what he holds 
 to be workable li- 
 mits, a reasonable 
 opportunity of 
 combining delibe- 
 rate beauty with 
 gentle dramatic ac- 
 tion. 
 
 It is characteris- 
 tic of him that to 
 secure this combi- 
 nation he should 
 have chosen for the 
 period he prefers to 
 illustrate not the 
 time in which he 
 lives but one just 
 past and not yet 
 forgotten. He in- 
 clines tou'ards a 
 type of romanticism 
 which the matter- 
 of-fact present does 
 not seem to provide, and to satisfy this desire he has to 
 seek among the relics of a bygone century all those acces- 
 sories which he employs in the building up of his stories. 
 The costumes, more graceful than those of to-day ; the 
 furniture and decorative details, less familiar than those 
 with which we are now surrounded ; the gardens with 
 their terraces and walks ; all the component parts of his 
 pictures, in fact, are derived from the yesterday when 
 people had leisure to cultivate an easy picturesqueness 
 
 which our modern life painfully lacks. It may, of 
 course, be said that the artifice which is needed for such 
 reconstructions of the past is over-elaborate, so com- 
 plicated that it must in practice infallibly lead the artist 
 entirely away from nature and tie him down to certain 
 undesirable conventions ; but in the case of Mr. Stone it 
 must not be forgotten that it is only the outward and 
 visible surface of to-day that he refrains from represent- 
 ing. The emotions that make his stories dramatic are 
 
 those which are 
 common to all 
 times, the beauty 
 by which he is at- 
 tracted is in all 
 essentials the same 
 now as it was a 
 hundred years ago ; 
 it is really in no- 
 thing but the mise- 
 en-scene of his sub- 
 jects that he shrinks 
 from the nineteenth 
 century common- 
 place. And even 
 in this setting there 
 is nothing which 
 barshim fromstudy 
 of nature directly 
 and exhaustively. 
 Dealing as he does 
 with gently emo- 
 tional incidents 
 that tell their own 
 story and depend 
 not at all upon his- 
 tory, there is no 
 need for him to fill 
 up from imagina- 
 tion many impor- 
 tant details that he 
 can never have had 
 the chance of see- 
 ing. To illustrate 
 the great events in 
 the social and poli- 
 tical record of cen- 
 turies ago, is a task 
 that can only be 
 prepared for by 
 long study of au- 
 thorities and by 
 laborious examina- 
 tion of written 
 descriptions ; and 
 nothing in the way 
 of obtaining visual 
 impressions is ever 
 possible for it. His 
 groups of interested 
 lovers and pathetic 
 maidens, all the little family scenes to which he has 
 given so many years of his life, are capable of being 
 arranged and investigated with almost as much closeness 
 as an everyday occurrence in our own domestic circles. 
 He clothes his observations in a particular form because 
 so he obtains what he wishes in the way of picturesque 
 variety, but he paints from real material acquired by the 
 same kind of direct attention which is used by the most 
 impressionable of modern men. 
 
MARCUS STONE , R. A, —INTRODUCTORY. 
 
 Therefore it is 
 hardly fair to de- 
 scribe Mr. Stone, 
 as so often has 
 been done, as 
 simply a literary 
 painter. An in- 
 cidental painter 
 he is, perhaps, 
 but his art is far 
 more visual than 
 reconstructive . 
 
 It is, no doubt, 
 uncongenial to 
 those purists who 
 would deny to 
 painting any mis- 
 sion except that 
 of reflecting what 
 is around, and is 
 certainly inde- 
 fensible, if re- 
 production without selection is to be accepted as the 
 only occupation that the pictorial worker may adopt. 
 But to all who believe that the search after beauty is 
 one of the best pursuits to which an artist can devote 
 himself, the class to which Mr. Stone’s later works 
 belong is not unwelcome, for in it we can include much 
 that is aesthetically admirable. That there are many 
 quite legitimate variations in the means by which such 
 beauty may be expressed is not to be disputed, and any 
 conscientious and individual attempt to reach a reason- 
 ably high standard ought by no means to be ignored. 
 How Mr. Stone will rank among the artists of this 
 
 century, is a 
 qu estion to which 
 the answer can 
 only be finally 
 given when the 
 eventful sum- 
 mary of his life’s 
 achievement 
 comes to be 
 made ; but he is, 
 during his middle 
 period, establish- 
 ing a very satis- 
 factory claim to 
 permanent con- 
 sideration as an 
 active believer in 
 principles which 
 are regarded by 
 many minds as 
 supremely valu- 
 able. He has al- 
 ready to some extent set a fashion, and many artists 
 now pay him the compliment of that imitation which 
 is proverbially the sincerest flattery. Some adapt his 
 subjects, some follow his manner, and others even go so 
 far as to appropriate bodily groups and figures from his 
 pictures. All this is evidence of the place he is taking, 
 and of the influence which, for good or ill, he is ac- 
 quiring in artistic and popular circles. It proves, at all 
 events, that he is a power with which criticism has to 
 reckon, and that no mere disparagement about the 
 literary character of his w r ork will dispose of his right to 
 be estimated seriously. 
 
 An Interrupted Duel. 
 
 By Marcus Stone, R.A. (p. 18 .) 
 
 A Peacemaker. By Marcus Stone, R.A. (p. 22 .) 
 
 By permission of Mr. Arthur Lucas. Publisher oj the Large Plate. 
 
 
First Sketch for ‘In Love.' By Marcus Stone. R.A. (p. 22.) 
 
 By permission of the Berlin Photographic Company, London. 
 
 MARCUS STONE, R.A. 
 
 EARLY LIFE. 
 
 Mr. Frank Stone, 
 A.R.A., the father of Mr. 
 Marcus Stone, was an 
 artist who, during the first 
 half of the present cen- 
 tury, gained great popu- 
 larity as a subject painter. 
 He first adopted the artis- 
 tic profession at the age 
 of twenty-six, and for the 
 first few years of his 
 career devoted himself to 
 water colour, becoming a 
 member of the Old Water 
 Colour Society in 1832. 
 He did not appear in any 
 of the Royal Academy 
 exhibitions until 1S37, 
 when he was represented 
 by a couple of portraits. In 1840, however, he enlarged 
 the borders of his practice, and produced a capable 
 illustration of the “ Legend of Montrose,” the first of a 
 series of similar subjects which he alternated with less 
 ambitious pictures of incidents painted for reproduc- 
 tion as engravings. In 1848 he digressed from sentiment 
 into religious motives, and sent to the Academy a 
 ‘ Christ and the Sisters of Bethany ’ ; and two years 
 later he made some success with a ‘ Scene from The 
 Tempest.' Shakespearean subjects occupied him at inter- 
 vals for the rest of his life, although he by no means 
 abandoned either his portrait painting or his popular 
 
 sentimentalities. He was elected an Associate of the 
 Academy in 1S51, and died suddenly eight years later at 
 
 Sketch in Water-colour. 
 
 By Marcus Stone, R.A. (p. 25.) 
 
 Sketch for Illustration for 
 
 “A Tale of Two Cities 
 By Marcus Stone. R.A. ( p . 14.) 
 
Bn permission 0} the Berlin Photographic Co., London, W., Publishers of the Large PL 
 
MARCUS STONE , R. A. —EARLY LIFE. 
 
 9 
 
 the age of fifty-nine. The charac- 
 teristics of his art may be de- 
 scribed as a combination of tech- 
 nical elaboration with a definite 
 predilection for beauty of physical 
 type. He was specially a painter 
 of womankind, and understood 
 well with what delicacy of colour- 
 ing and refinement of line to de- 
 pict feminine graces. Instances 
 of his attempting large and com- 
 plicated compositions are com- 
 paratively rare, for he inclined 
 but little to the representation of 
 subjects that require a crowded 
 canvas. His preference was for 
 groups of two or three figures at 
 most, which he could paint with 
 all possible attention to what he 
 held to be essential matters of 
 technique, and within these limi- 
 tations he made what were, in the 
 eyes of his public, the chief suc- 
 cesses of his life. 
 
 Frank Stone’s death took place when his sou Marcus 
 was about eighteen years old. The lad had long before 
 decided to follow his father’s profession, and had begun 
 when not more than sixteen to work seriously at paint- 
 ing. So rapid was his development, that in 1858, when 
 he was between seventeen and eighteen, he exhibited at 
 the Academy the first of the long series of pictures by 
 which, without any break since, he has been annually 
 
 described as in any sense a re- 
 flection of his father’s manner, 
 and was rather a piece of preli- 
 minary evidence of the intention 
 of the young artist to carve out a 
 way for himself in Art, and to 
 prove his own independence. 
 
 Curiously enough, he never had 
 any systematic training in the de- 
 tails of his profession. What he 
 learned during his boyhood was 
 picked up more or less casually 
 in his father’s studio, and from 
 the friends who, during the life- 
 time of the Associate, were con- 
 stantly in his company. He was 
 always, even as a small child, try- 
 ing to acquire the facility of hand 
 which would enable him to put 
 into form the imaginings with 
 which his mind was filled. He had 
 from his earliest years the faculty 
 of design and a considerable power 
 of storing up what he wanted to use 
 in his artistic efforts. These capacities are quite clearly 
 illustrated in the two pen-and-ink drawings on this page, 
 childish productions intended as a birthday present for 
 his father. They are in a simple way remarkably full 
 of meaning, telling their story with all directness and 
 appropriate expression. Frank Stone’s house was a 
 meeting place for most of the more prominent painters of 
 his time, and it is quite understandable that a clever 
 and intelligent lad should in such society have been able 
 
 Marcus Stone, R.A., at the Age of Sixteen. 
 
 Pen-and-ink Drawing by Marcus Stone at the Age of Eleven. 
 
 (A 9d 
 
 represented in the galleries of that Society. This 
 early work was called ‘ Rest,’ and had for subject a 
 knight in armour lying under a tree. It could hardly be 
 
 ( P ■ 9-) 
 
 to lay a very secure foundation of technical knowledge. 
 He certainly enjoyed one great advantage at this period, 
 the opportunity of doing actual work under the direct 
 supervision of a number of artists who were by many 
 years his seniors. This came about through the 
 
io 
 
 THE ART ANNUAL. 
 
 The First Sketch by Marcus Stone for a Wood Block. 
 
 Illustrating “Little Dorrit (p. 14 .) 
 
 desire of several men who were already well estab- 
 lished in the popular mind, to continue those studies 
 from nature which are too often regarded as essential 
 only during the student life. A group of sincere workers, 
 among whom were Frank Stone, Frith, Mulready, Egg, 
 Holman Hunt, John Philip, and Elmore, combined to 
 form a class where they could draw and paint together 
 from the living model ; and to the gatherings of this body 
 of enthusiasts the younger Stone was admitted. 
 
 The meetings of this informal life school took place 
 twice a week, in a large room which was hired in what 
 was then almost a rural district — on Campden Hill. 
 They were essentially gatherings for hard work and 
 systematic study, not occasions for gossip and the inter- 
 change of studio tittle-tattle ; so that to the lad who was 
 present at them, they must have presented in a most 
 convincing manner the laborious side of the artistic pro- 
 fession. They gave him too what 
 was immensely to his advantage, 
 constant opportunity of submit- 
 ting his productions to artists who 
 were not only successful in their 
 appeal to the public, but were, as 
 well, emphatic believers in the 
 need for continued and unremit- 
 ting attention to nature’s lessons. 
 
 By such assistance, his capacities 
 probably matured with much 
 greater rapidity than would have 
 been possible had they been 
 trained in the usual way in a 
 school where he would have asso- 
 ciated with students but little more 
 advanced than he was himself. 
 
 The need of labouring to bring 
 his work as nearly as he could up 
 to the standard reached by actu- 
 ally proficient and practising 
 painters, was certainly one that 
 spurred him to special exertion ; 
 and it certainly gave him a 
 much better idea of the manner 
 in which the educational making 
 of studies has to be adapted to 
 
 pictorial uses, than he would ever have 
 acquired in the painting school of the 
 Academy or in any other available class- 
 rooms. 
 
 And yet it is hardly inappropriate to 
 describe him as self-taught. The desul- 
 tory supervision which was exercised 
 over his early efforts by his father, and 
 the other painters with whom he was 
 thrown, was too intermittent and indefi- 
 nite to bear describing as a pre-arranged 
 system of education. It was really a 
 casual course of teaching by suggestion, 
 a process by which a constant succession 
 of hints was given him on the assumption 
 that he would have the wit to receive and 
 apply them in the right way. He was 
 presented with a valuable but heteroge- 
 neous collection of detached scraps of Art 
 knowledge which he had to sort out and 
 arrange in such order as would make them 
 readily available for the purposes of his 
 practice. The responsibility of acceptance 
 or rejection was upon him from the first ; 
 and by his own power of selection the 
 worth of what was offered to him had to be decided. 
 That he did gather up discreetly the hints he received, 
 and that he did digest with all thoroughness the scrappy 
 information so liberally provided for him, the character 
 of the work which he produced, even at the outset of 
 his career, proves beyond question. He was a follower 
 of no one of the many artists under whose influence he 
 momentarily fell. Not any among them could call him 
 an imitator or even adapter, for he began at once to try 
 to find for himself an independent course in Art, and he 
 has remained till the present day a worker apart, both 
 in his manner and his methods, from those of his con- 
 temporaries who have not deliberately set themselves to 
 copy him. 
 
 When his father died the self-teaching which the son 
 had practised in the matter of selection became a serious 
 necessity for the continuation of his training. Not only 
 
MARCUS STONE, R. A.— EARLY LIFE. 
 
 did he lose the benefit of his father’s advice, but he lost 
 also the help of many of his father’s old friends, a number 
 of whom during the next two years followed Frank Stone 
 to the grave. This meant that the lad, at little more than 
 eighteen, was forced into absolute reliance upon himself. 
 He says of his experiences at this period that he was so 
 far alone, professionally, that for six years scarcely a 
 single artist entered his stndio. He had to trust for 
 success to efforts which were practically unaided ; and it 
 is greatly to his credit that he continued all this while to 
 build up his reputation and to progress steadily towards 
 the front rank of the younger painters. It says not a 
 little for the merit of his work that his pictures never 
 failed to find places on the Academy walls, for few of 
 those among his father’s friends who held official posi- 
 tions remained to influence in his favour the deliberations 
 of the selecting and hanging committees of the various 
 exhibitions. His appeal had to be made almost entirely 
 to strangers, and upon their verdict depended the accep- 
 tance or rejection of his productions, and the manner in 
 which he was able to bring himself before the public. 
 That he should have passed so easily through every 
 ordeal is worth recording, for it proves plainly enough 
 how well-advised he was to take a clear line of his own 
 in Art, and to follow it up vigorously and consistently. 
 
 There was another result of Frank Stone’s intimacy 
 with many notable men which had a considerable effect 
 upon his son’s after-life. The young Marcus became 
 acquainted in his early boyhood with an astonishing 
 number of the great writers whose names are familiar to 
 every student of the literature of this century. Few men 
 of his age can boast of having known, and known well, 
 
 Water-colour Sketch. 
 
 By Marcus Stone, R.A. (p. 25 .) 
 
 I 1 
 
 /Mr. 
 
 CHILD'S HISTORY OF ENGLAND. 
 
 Inscription on Presentation Volume from Charles Dickens 
 to Marcus Stone, (p. 12 .) 
 
 s 
 
 ZcOA' c a/ ^ W y / 
 
 _ • -S’ 
 
 far# . ^ 
 
 
 such an array of eminent workers in every branch of 
 Art. His memory of the members of his own profession 
 includes Maclise, Clarkson Stanfield, Dyce, John Philip 
 and a host of the early Victorian Academicians, and he 
 knew besides not only Sir Edwin Eandseer but even the 
 father of the great animal-painter, John Eandseer, the 
 engraver, whose birth took place as far back as 1769 ; 
 while outside the ranks of the painters he came in contact 
 with Bulwer Lytton, Charles Dickens, Douglas Jerrold, 
 Albert Smith, Charles Reade, Wilkie Collins, and 
 Thackeray. And his acquaintance with the majority of 
 them was very far from being slight or casual. Some 
 were, indeed, among the closest friends of his young- 
 days, and to their interest in him lie owed not a little. 
 They treated him as one of themselves, made him 
 welcome in their houses, and helped him in his struggle 
 for recognition in a kindly manner that showed how 
 thoroughly they appreciated his earnestness and artistic 
 endeavour. 
 
 He has now a fund of anecdotes of his experiences in 
 those days. He tells, for instance, how he visited Paris 
 in 1862 and dined there with Eytton and Charles Dickens, 
 by both of whom he was, on the eve of his return to 
 Eondon, entrusted with packets of manuscripts to deliver 
 
12 
 
 THE ART ANNUAL. 
 
 First Sketch for ' Watt discovering the Condensation of Steam. 
 
 By Marcus Stone, R.A. ( p . 18.) 
 
 to their respective publishers. He expresses quaintly the 
 anxiety which the undertaking of such a commission cost 
 him, and speaks feelingljr even now of the relief which 
 he felt when he had finally left his pre- 
 cions charges at the offices of Household 
 TVords and Blackwood' s Magazine. He 
 describes, too, an interview which, soon 
 after his father's death, he had with 
 Thackeray. The great writer was at the 
 time busy with the first number of the 
 Cornhill Magazine, and young Stone took 
 a batch of sketches to show him. His 
 comment on these was the cheery question : 
 
 “ Now, how do you get such nice pencils 
 to draw with ? My pencils won’t draw.” 
 
 It was, however, with Charles Dickens 
 that Marcus Stone was, at this date, on 
 terms of greatest intimacy. Their friend- 
 ship lasted for nearly twenty years, and 
 closed only with the death of Dickens. 
 
 It originated while Frank Stone and the 
 novelist were living not more than a 
 couple of houses apart, at a time when 
 communication between the two families 
 was a matter of daily occurrence. To 
 this period belongs the incident which 
 brought the letter from Dickens which is 
 reproduced on page n. Chancingone dayto 
 find young Marcus Stone, who was then 
 but twelve years old, busily employed on 
 a drawing to illustrate the scene in ‘‘ Bleak 
 House” where Jo, the crossing sweeper, 
 finds himself at the gate of the grave3 r ard, 
 he highly praised the efforts of the boy 
 artist, and begged that the sketch should 
 be sent to him. This, naturally, was 
 done, and some little time later the child 
 received the characteristic letter from 
 Dickens with a copy of “ The Child’s 
 History of England,” in which was an 
 equally characteristic inscription (page n). 
 
 And these kindly relations between the suc- 
 cessful author and the struggling young 
 
 painter were, if anything, accentuated 
 by the death of Frank Stone. Dickens 
 treated the lad almost as a son, and made 
 him just as welcome at Gad’s Hill as he 
 had been at the house in town. He gave 
 him, too, many introductions to people who 
 were likely to prove helpful, among others 
 to Longman, the publisher. The letter 
 which he wrote on this occasion shows 
 how highly he appreciated the growing 
 capacity of his young friend, and how 
 eager he was to do him a good turn. ‘‘I 
 am very anxions,” he sa} r s, “ 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”; and after referring to ‘‘the 
 start this young man made in the last 
 exhibition, and what favourable notice 
 his picture attracted,” he goes on to ex- 
 plain the chief purpose of the letter in 
 the words, “ He wishes to make an ad- 
 ditional opening for himself in the illus- 
 tration 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 I know well of 
 my own knowledge.” With what personal affection for 
 
 “ Thoughts," 
 
 A Sketch by Marcus Stone, R.A. ( p. 25.) 
 
Watt discovering the Condensation of Steam. By Marcus Stone, R.A. (p, iS. ) 
 
 By permission of Messrs. H. Graves Co., Publishers of the Large Plate. 
 
14 
 
 THE ART ANNUAL 
 
 Original Sketch for ' Henry VIII. in his Nursery.' 
 
 By Marcus Stone, R.A. (p. 18.) 
 
 the “son of poor Frank Stone” the note was inspired 
 the closing sentences tell us. “ He is in all things 
 
 Water-colour Sketch. 
 
 By Marcus Stone, R.A. (p. 25.) 
 
 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.” All this must be accounted very hearty 
 praise, the strongest evidence that could be produced 
 of the high estimate which Dickens had formed of the 
 merits, personal and professional, of the budding 
 artist. That the opinion was entirely a sincere one is 
 made clear by his selection of Marcus Stone, in 1863, to 
 illustrate ‘‘Our Mutual Friend,” which began in that 
 year to appear as a serial ; and again when “ Great 
 Expectations” was published in volume form, it was 
 accompanied by many drawings from the same hand. 
 For his own practice he also made several drawings for 
 illustrations for “Tittle Dorrit ” and “A Tale of Two 
 Cities.” It must be remembered, too, that Dickens was 
 by no means easy to please in the matter of pictorial 
 renderings of incidents from his stories, and that the 
 artists who drew for him found him not at all ready to 
 accept work of which he did not wholly approve. 
 
 Black-and-vdiite drawing proved, however, to be a class 
 of Art which had little in it to attract an artist possessed 
 of aspirations as keen as those which were already 
 influencing young Stone. He w^as far too devoted to 
 picture painting even then to make more than occasional 
 essays as a book-illustrator. It is true that, in 1S69, he 
 did a number of drawings for Anthony Trollope’s story, 
 “ He knew' He w^as Right,” and struggled manfully with 
 the difficulties that arose out of the fact that the author, 
 who had finished the story some considerable time before 
 it w r as published, had completely forgotten the doings of 
 his own characters, and so was unable to assist him with 
 any hints or suggestions about the part played in the 
 tale by the various personages described. But with the 
 
MARCUS STONE, R.A.— EARLY LIFE. 
 
 i5 
 
 Original Sketch for 'Sain et Sauf.' 
 
 By Marcus Stone, R.A. (p. 20 .) 
 
 illustrations which he produced some five years later for a 
 book, “Young Mr. Brown,” by an anonymous author, who 
 was generally supposed to be Mr. Grenville Murray, his 
 contributions to this branch of Art work entirely ceased. 
 
 He had been, meanwhile, steadily building up his 
 reputation as a painter of popular pictures. The series 
 of his annual contributions to the Academy exhibitions 
 had been going on uninterruptedly, and each successive 
 year saw him better established in the public regard. 
 By his devotion to what seemed to him to be the worthiest 
 ideals, and by his originality in the treatment of the 
 subjects he selected, he had, before he was much past 
 thirty, secured a wider recognition than is ordinarily 
 vouchsafed to young artists. He was readily accepted 
 because he had found a way of appealing straight- 
 forwardly and intelligently to the many people who are 
 fascinated by a pictorial statement which does not, to be 
 understood, demand the exercise of such analytical capa- 
 
 cities as are possessed only by the expert few. And 
 official acknowledgment followed close upon popular 
 acceptance, for in 1S77 he was elected an Associate of the 
 Ro3 - al Academy ; he had an important picture, ‘ II y en 
 a toujours un autre,’ or ‘A Prior Attachment,’ which 
 forms our frontispiece, bought for the Chantrey Fund 
 Collection in 1SS2 ; and a few years later he was advanced 
 to the full rank of Academician. The solid foundation 
 of artistic knowledge, and the secure basis of intel- 
 ligent observation, which he had gained by his youthful 
 experiences, proved fully adequate to support a consi- 
 derable superstructure of achievement, and aided him in 
 finishing off thoroughly and in a workmanlike manner 
 the yearly record of his aesthetic convictions; and the 
 same capacity for thoroughness which attached to him 
 the friends of his boyhood has brought him the wider 
 circle of supporters which to-day welcomes his pictures 
 and applauds his purpose in Art. 
 
 Sketch. By Marcus Stone, R.A. ( p . 25 .) 
 
 
 6 ■ *1 
 
 Sketch. By Marcus Stone, R.A. ( p . 25 .) 
 
.4 Sketch in Venice. 
 
 By Marcus Stone , R.A. (p. 25.) 
 
 MARCUS STONE, R.A. 
 
 HIS PICTURES. 
 
 In making any detailed list of 
 Mr. Marcus Stone’s pictures, what 
 is first and most forcibly striking 
 is the moderation which he has 
 habitually exercised in the matter 
 of exhibiting. Unlike most modern 
 artists he has never given way to 
 the vice of over-production, but 
 has generally limited himself to 
 the completion in each twelve 
 months of one important work or 
 of two or three canvases of less 
 pretension. By this reticence he 
 has kept his impressions fresh, and has saved himself 
 from premature descent into that abyss of vain repetitions 
 which yawns always to swallow up the too-prolific painter. 
 Pie has, too, allowed himself time to think out quietly 
 and without haste whatever changes in style and vari- 
 ations in his class of subjects that he has inclined to ; 
 not jumping hastily to rash conclusions nor putting hur- 
 riedly forward half- reasoned experiments. His evolution 
 has been thoughtful and deliberate, and each progressive 
 step in his career has been carefully tested before he has 
 permitted himself to abandon the place on which at the 
 moment he found himself to be established. As a result 
 of this deliberation the total number of his exhibited 
 works is not great, and, all told, would probably not ex- 
 ceed a hundred. It is to the fact that so many of them 
 have been reproduced as engravings that this compara- 
 tively small output has become familiar to the large sec- 
 tion of the public which accords to Mr. Marcus Stone 
 a very hearty and sincere recognition. 
 
 Another fact which is worth noting in connection with 
 
 his public life is his loyalty to the Academy. He has 
 divided his work hardly at all, and has appeared in few 
 London exhibitions outside Burlington House ; though 
 he has been a not infrequent contributor to the more 
 important provincial galleries. Doubtless the habit of 
 regarding the Academy as the centre of British Art is one 
 which his early life and youthful associations did much 
 to foster ; and as he grew up and took his place in the 
 ranks of practising artists, the ready acceptance of his 
 paintings there gave him no reason to seek in other 
 directions opportunities for publicity. His reception 
 within the Academic circle was certainly only a fair 
 return for his consistent support, a quite appropriate 
 
 A Game 0 / Bowls. Sketch. 
 
 By Marcus Stone, R.A. (p. 25 
 
MBffl 
 
 Blllil 
 

 
 
 
 
 
 
 
 
 
 
 
MARCUS STONE , R.A.—HIS PICTURES. 
 
 17 
 
 acknowledgment of the manner in which he had for close 
 upon twenty years strictly observed the policy of support- 
 ing those exhibitions with the best examples of his 
 handiwork that he was able to produce. 
 
 The picture with which he began his career was, as has 
 been already mentioned, painted in 1858, and was called 
 ‘ Rest.’ It had a certain sentimentality of purpose, as it 
 illustrated the verse — 
 
 “ In all my wand’rings round this world of care, 
 
 In all my griefs — and God has 
 given my share — 
 
 I still had hopes, my long vexa- 
 tions past, 
 
 Here to return — and die at 
 home at last” — 
 
 and it was followed by 
 another which showed 
 the same intention to 
 appeal to the popular 
 liking for a subject that 
 would suggest a pathe- 
 tic situation, and an in- 
 cident calling for sym- 
 pathy of a more or less 
 active kind. One of the 
 most successful of his 
 youthful efforts was 
 ‘Silent Pleading,’ exhi- 
 bited in 1859. It was a 
 scene from modern life, 
 a realisation of a com- 
 monplace occurrence 
 which was, nevertheless, 
 not un dr am a tic in a 
 quiet way. A tramp 
 with a child in his arms 
 has been discovered 
 asleep in a shed by the 
 squire and the village 
 constable, whose duty 
 it obviously is to arrest 
 him for having “ no 
 visible means of sup- 
 port” ; but touched by 
 the pathos of the mo- 
 ment, even these guar- 
 dians of the law stand 
 hesitating over what, it 
 is suggested, is a case 
 not entirely undeserv- 
 ing. Such a subject had 
 in it the elements 
 of special popularity, 
 and that it should have 
 been chosen by a lad of 
 nineteen argued his 
 possession of notable 
 discretion. 
 
 For his next picture, ‘ The Sword of the Lord and of 
 Gideon,' he took a very different motive, experimenting 
 apparently to find in which direction he could best apply 
 his capacities. This was a character study, a representa- 
 tion of a stalwart Puritan, which was treated with so 
 much power that it made a conspicuous success, and 
 brought the artist at once into prominence. Yet he was 
 not led away into any effort to purchase an easy reputa- 
 tion by harping persistently on the same string, for the 
 next year saw him still feeling his way, and making a 
 new departure that his previous performances hardly 
 
 foreshadowed. He digressed into Shakespearean illus- 
 tration, and exhibited a subject from Much Ado about 
 Nothing, Act iv., scene 1, ‘ Claudio, deceived by Don 
 John, accuses Hero,’ to which, by the way, as the best 
 historical painting of the year, a medal was awarded by 
 the Society for the Promotion of the Fine Arts. And 
 this remained practically his only important attempt to 
 deal with material which was then, and still is, regarded 
 as peculiarly fitted for pictorial purposes. It is probable 
 
 that he found such sub- 
 ject matter too cum- 
 brous to give him the 
 daintier details of emo- 
 tion that he was inclined 
 even then to regard as 
 best fitted for artistic 
 consideration, and that, 
 with this conviction, he 
 preferred not to burden 
 himself with an undue 
 weight of responsibi- 
 lity, for the picture he 
 had in 1862, ‘A Young 
 Painter’s First Work,’ 
 was of a very different 
 complexion, a domes- 
 tic incident imagined 
 and treated with con- 
 siderable sense of hu- 
 mour. 
 
 In 1S63 came one of the 
 chief successes that fell 
 to him in his younger 
 days. This was made in 
 a branch of painting 
 which was again different 
 to those with which he 
 had before experiment- 
 ed. The picture, which 
 was called ‘ On the Road 
 from Waterloo to Paris ’ 
 (see page 19), was one of 
 a series to which, dur- 
 ing the next few years, 
 he added several other 
 examples. The under- 
 lying motive in them all 
 was intentionally emo- 
 tional, the dramatic re- 
 presentation of a consi- 
 derable range of human 
 feeling ; but this motive 
 was veiled by a more or 
 less transparent cover- 
 ing of historical epi- 
 sode. These pictures 
 represented, in fact, the 
 by-play of history, sug- 
 gesting rather what might have happened under certain 
 conditions than pretending to present an actual re- 
 flection of the events which have century by century 
 left their mark upon the pages of our national record. 
 The Waterloo canvas was, in this wa}q only historical 
 because there is in existence a story that some such 
 incident happened to Napoleon during the days that 
 followed his last defeat. Mr. Marcus vStone found his 
 authority for the picture in a poem by Beranger, “ Les 
 Souvenirs du Peuple,” and he used it with the intention 
 of putting into visible shape, by its assistance, a certain 
 
 X) 
 
 Asleep. By Marcus Stone, R.A. (p. 22.) 
 
 By permission of John Aird, Esq., M.P , 
 
THE ART ANNUAL . 
 
 1 8 
 
 preconception of particular emotions which was already 
 formed in his mind. He painted really a dramatic 
 situation, what might be described as a harmony of 
 tragic low tones, and he used Napoleon and his escort 
 as the actors in his scene because their experiences after 
 Waterloo were well calculated to produce that mental 
 attitude which he wished to analyse and portray. 
 
 This picture was followed by several others of the same 
 character, alternated, however, with slighter and less 
 exacting subjects. In 1864 and 1865, the years in which 
 he was busy with the illustrations for “Our Mutual 
 Friend,” he exhibited ‘ Working and Shirking ’ and ‘ Old 
 Fetters,’ but he had previously completed a canvas — 
 which was never shown at the Academy — with a semi- 
 historical purpose, a painting of ‘ Watts discovering the 
 Condensation of Steam,’ of which we give both the 
 original sketch (page 12) and the completed picture (page 
 13). The incident is rendered as conceivably it might 
 have happened, but is not turned to account with any 
 idea of reproducing pictorially any exact quotation from 
 the records of the British people. Nor was his Academy 
 work in 1867, ‘ Nell Gwynne begging Aid for the Old Sol- 
 diers,’ despite its dealing with a well-known figure in a 
 distant past, any more an instance of painted history 
 than the 1866 picture, ‘ Stealing the Keys,’ a girl taking the 
 keys of her father’s prison chamber, or ‘ An Interrupted 
 Duel ’ (page 7) in 1868. Mr. Marcus Stone, however, was 
 at the time plainly satisfied with the opportunities which 
 this clothing of historical personages in a dress of modern 
 sentiment afforded him, for during the next five years 
 there was no intermission in his illustration of subjects 
 of this class. In 1S69 he exhibited ‘ The Princess Eliza- 
 beth obliged to attend Mass by her Sister Mary ’ ; in 1870, 
 
 ‘ Henry VIII. and Anne Boleyn observed by Queen 
 Katherine’; in 1871, ‘The Royal Nursery,’ a Tudor 
 version of Charles Dickens’s story of Paul and Florence 
 Dombey, Henry VIII. lavishing attention on his sickly 
 
 “ My Lady is a Widow and Childless.” 
 
 By Marcus Stone, R.A. (p. 18 .) 
 
 By permission of Mr. Arthur Lucas, 
 
 Publisher of the Large Plate. 
 
 The Sacrifice. The Original Sketch. 
 
 By Marcus Stone, R.A. (p. 21 .) 
 
 son to the neglect of his more prom'sing daughter, 
 Elizabeth (of this we give a reproduction of the original 
 sketch, page 14); in 1S72, ‘Edward II. and Piers 
 Gaveston ’ ; and in 1S73 ‘ Ke Roi est Mort — Vive le Roi ! ’ 
 a tiny child shrinking in terror from a group of bowing 
 courtiers, while in a corner an attendant is drawing the 
 curtains of a bed on which lies the body of the King 
 who has just expired. 
 
 Of all these memorable productions the one which 
 deserves the greatest attention is the ‘ Edward II. and 
 his Favourite, Piers Gaveston,’ for it is most evidently 
 explanatory of his attitude towards the events of past 
 centuries. Of this important picture we give an 
 engraved plate byj. Stephenson. He is in this picture 
 no mere chronicler, putting carefully down this or 
 that fact discovered by laborious research. What he has 
 given us is a piece of psychology, an expression of the 
 influence gained by an unscrupulous schemer over a 
 weak and impressionable nature. There is undeniable 
 cleverness in the juxtaposition of the grave and reverend 
 counsellors, oppressed by the cares of the State, with the 
 two tittering and whispering youths whose folly seems 
 to shock even that licensed buffoon, the jester dwarf; 
 and the meaning of the whole composition is made ad- 
 mirably intelligible by the manner in which the artist 
 has played with a modulation which has for its loudest 
 note honest wrath and for its fainter sounds various de- 
 grees of pitying contempt and hopeless disgust. There 
 is no possibility of doubting what is the nature of the 
 storm that is seen to be fast gathering over the head of 
 this undignified ruler ; the fate that lies in wait for care- 
 less weakness is far too plainly foreshadowed. 
 
 ‘ My Eady is a Widow and Childless,’ which appeared 
 in 1S74, was the first sign that Mr. Marcus Stone felt that 
 he had exhausted the vein which had during these 
 
From Waterloo to Paris. By Marcus Stone, R.A. ( p , 17.) 
 
 By permission of Messrs. H. Graves & Co., the Publishers of the Large Plate. 
 
20 
 
 THE ART ANNUAL . 
 
 preceding years given him such good results. This picture 
 (p. iS) of a rich widow watching from her garden a happy 
 family group, a labourer with his wife and children, and 
 envying their possession of what she herself lacked, had in 
 it much more complication 
 of pathetic suggestion than 
 anything which he had 
 previously painted, and in- 
 deed this is one of his best 
 paintings. He touched, 
 however, a lighter note 
 next year in ‘ Sain et 
 Sauf,’ using, instead of 
 sorrowful regret, as a mo- 
 tive, the joy of a moment 
 of meeting between a hus- 
 band and wife who had 
 scarcely hoped to see one 
 another again. The set- 
 ting for his idea was found 
 abroad, for it was the in- 
 terior of a modern French 
 cottage that he depicted, with a soldier returning safe 
 and sound from the wars to take up again his home-life 
 in the bosom of his family. The story had no lack of 
 dramatic meaning, and the vividness with which it was 
 told was not a little helped by the complete manner in 
 which ever}' detail and every accessory of the mise-en- 
 scenc were studied and set down, and by the care with 
 which subordinate interests were connected with the 
 main plot. This completeness was, without doubt, partly 
 ow’ng to the fact that he took the trouble to paint 
 actually on the spot all the chief things that he wanted 
 for the proper filling up of his large canvas. Our illustra- 
 tion, on page 15, is from the original spirited sketch. 
 
 The next year, 1876, saw another change in Mr. Marcus 
 Stone’s style, and the beginning of that series of dainty 
 designs which he has continued to the present day. In 
 eighteen Academy exhibitions he had illustrated the 
 
 varieties of human passion, 
 and then apparently he at 
 last decided to limit him- 
 self to the one which 
 makes the widest appeal 
 to all sorts and conditions 
 of men and women, and to 
 produce idyllic composi- 
 tions full of tender expres- 
 sion, subtle domestic 
 dramas in which Love 
 would always be found 
 playing the leading part. 
 Within these limits he left 
 himself, it is true, no little 
 scope for variety. It was 
 not merely Love triumph- 
 ant that he elected to 
 paint ; he has concerned himself more often with the 
 same sort of by-play that he had used in his historical 
 situations. His lovers have since 1876 undergone num- 
 berless vicissitudes and have suffered their full share of 
 the rubs that make the course of true affection prover- 
 bially uneven. Quarrels, reconciliations, disappointments, 
 the pleasure of perfect accord, and the thousand and 
 one lights and shades of courtship and recent matrimony 
 have in turn provided him with material for his pictures ; 
 and have given him full opportunities for working out 
 those pictorial convictions which have resulted from his 
 theorising on artistic principles. 
 
 The first canvases which he exhibited to mark this new 
 
 Sketch for ‘ The First Love-Letter.' (p. 22 .) 
 
 The First Love-Letter. By Marcus Stone, R.A. (p. 22 .) 
 
 By permission of Mr. Arthur Lucas, Publisher of the Large Plate. 
 
MARCUS STONE, R.A.—HIS PICTURES. 
 
 departure were called 
 ‘ Rejected ’ and ‘ An Ap- 
 peal for Mercy ’ (see 
 below). They were dif- 
 ferent to those that had 
 preceded them, not only 
 in motive, but as well 
 in character and general 
 arrangement. Even the 
 costumes of his people 
 were of a new period, 
 no longer Plantagenet or 
 Tudor, nor chosen from 
 those worn by his con- 
 temporaries. They were, 
 instead, of a date when 
 something of the older 
 picturesqueness still re- 
 mained to them, associ- 
 ated, however, with suf- 
 ficient of the modern 
 fashion to make them 
 intelligible and attrac- 
 tive to present-day ob- 
 servers. The frills and 
 flouuces, the cocked hats 
 and long-skirted coats 
 of the time of the French 
 Revolution, are not so 
 unfamiliar to us to-day 
 that we have to draw 
 seriously upon our ima- 
 ginations to accept as 
 credible the scenes in 
 which they appear, and 
 yet they have about 
 them an atmosphere of 
 picturesqueness which 
 assorts more pleasantly than our own daily dress with 
 love passages and moments of tender ecstasy. 
 
 Mr. Marcus Stone had two more pictures in his new 
 manner for 1S77, the year in which he made his first 
 appearance as an Associate of the Academy. They were 
 very judiciously contrasted, for one, ‘ Sacrifice ’ (of which 
 w r e give a reproduction of the original sketch at page 
 18), was a domestic tragedy, a young girl burning her 
 lover’s letter, and so taking upon her own shoulders the 
 trouble by which her 
 parents, who are watch- 
 ing her, are painfully 
 bowed down ; and the 
 other, ‘Waiting at the 
 Gate,’ a tiny canvas, was 
 a little study of a girl 
 listening for expected 
 footsteps at the gate of 
 an old walled garden. 
 
 It had little more than 
 a suggestion of story, 
 and was really of the 
 nature of a quiet hint 
 of the artist’s meaning, 
 a dramatic sketch which 
 could be filled up as the 
 spectator liked. 
 
 There was a much 
 more obvious signifi- 
 cance in ‘ The Post Bag,’ 
 the most important of 
 
 Winter Berries. 
 
 By Marcus Stone, R.A. (p. 24.) 
 By Permission of Messrs. Boussod, 
 Valadon <S> Co. 
 
 the four works by which 
 Mr. Marcus Stone was 
 represented in the 1878 
 Academy. The three 
 other pictures of this 
 year were a ‘ Head of a 
 Girl’; ‘The Fruit-seller,’ 
 a graceful tlireequarter- 
 lengtli figure, and ‘ The 
 Time of Roses,’ a stolen 
 interview betw r een two 
 lovers. These were fol- 
 lowed in 1879 by ‘ In the 
 Shade ’ (see page 4) 
 which was an illustra- 
 tion of the manner in 
 which the masculine in- 
 clination can be induced 
 by bold advances to dis- 
 regard beauty that is in 
 type gentle and not too 
 pronounced ; ‘ Summer 
 
 Time,’ and ‘Discord;’ 
 and in 1880 by ‘ Olivia 
 and Dick Primrose,’ a 
 harmony in delicate 
 shades of red, and 
 ‘ Amour ou Patrie ? ’ a 
 telling subject dealing 
 with a moment in the 
 lives of two young peo- 
 ple when devotion to the 
 nation’s cause and the 
 tenderest personal feel- 
 ings had to be balanced 
 one against the other. 
 
 The picture, published 
 under the title ‘Rove or 
 
 Country?’ (see page 6) was painted with a fine reticence 
 and reserve of power infinitely more effective than any 
 melodramatic posing or gesture could have been ; the 
 very absence of action made the point of the situation 
 all the easier to understand. The same kind of judgment 
 in the use of emotional material distinguished his 
 ‘Married for Rove,’ next year’s contribution to the 
 Academy. 
 
 In 1882 he was represented by some important canvases. 
 
 ‘ II y en a toujours un 
 autre,’ or ‘ A Prior 
 Attachment,’ which was 
 bought for the Chantrey 
 collection, has for its sub- 
 ject a love episode that 
 seems to call for a se- 
 quel. The courtship here 
 is all on one side, an 
 ardent lover baffled by 
 the preference of the 
 lady for another whose 
 absence has the effect of 
 steeling her heart to re- 
 sist the youth to whom 
 opportunity has seemed 
 more kind. He realises 
 unwillingly that his 
 most earnest pleadings 
 are unavailing against 
 the more powerful advo- 
 cacy of his rival which 
 
 A utumn Fruits. 
 
 By Marcus Stone, R.A. (p. 24.) 
 By permission of Messrs. Boussod, 
 Valadon <§- Co. 
 
 Sketch for ' An Appeal for Mercy.' 
 
 By Marcus Stone, R.A. [p. 21.) 
 
22 
 
 THE ART ANNUAL. 
 
 lier thoughts provide, and sees his hopes vanishing 
 one by one, killed by her devotion to the absent 
 one, who on this occasion is certainly not out of mind 
 merely because he is out of sight. It is published 
 under the title ‘A Prior Attachment’ and it forms the 
 frontispiece to this monograph. He made a departure 
 with a ‘ Portrait of Miss Frances Sterling,’ the first 
 piece of work of this class that he had exhibited. It is 
 a seated figure of a child with bright-coloured red hair, 
 and of this, a favourite with 
 the artist, we have a small re- 
 production at page 25. 
 
 For the following year he had 
 ‘ An Offer of Marriage ’ and 
 ‘Asleep.’ The first (illustrated 
 at page 5) was one of his now 
 customary studies of love in- 
 terest, a girl standing beside a 
 table on a terrace in a quaint 
 old garden, while her father 
 sits musing over the letter 
 containing the momentous offer 
 which she has just received. 
 
 The attitude of the two figures 
 told pleasantly enough the 
 slight story, and revealed quite 
 persuasively her maidenly hesi- 
 tation and his kindly but less 
 directly personal interest in the 
 important communication. 
 
 ‘Asleep’ (see page 17) was 
 simply a decorative arrange- 
 ment, a three-quarter length 
 figure of a girl sleeping in a 
 chair with her neglected work 
 on her lap, and around her 
 masses of bright-coloured roses. 
 
 At this time he produced the 
 pretty study ‘ A Reverie,’ illus- 
 trated opposite, a dreaming 
 maiden alone with thoughts 
 that, as her face suggests, are 
 all - absorbing. The problem 
 over which she ponders is a 
 momentous one evidently, but 
 seems near its solution. 
 
 A single work was all that ap- 
 peared in 1S85, but this was 
 his ‘ Gambler’s Wife,’ one of 
 his greater successes. It had 
 the merit of not attempting 
 too much in the way of dra- 
 matic effect, and of implying 
 rather than insisting upon a 
 pathetic situation. 
 
 In the next Academy ex- 
 hibition appeared his ‘ Peace- 
 maker,’ the popularity of which was extraordinary. We 
 give a reproduction of it at page 7. Few modern pictures 
 have attracted a tithe of the attention bestowed upon this 
 almost trivial quarrel between two lovers, this summer 
 storm which, passing almost as quickly as it had arisen, 
 leaves nothing but a few rain-drops sparkling on the 
 ground. The very simplicity of the subject seemed to 
 take at once the public fancy ; and the delicacy of the 
 sentiment suggested by the group in the foreground, by 
 the well-disposed little maiden who persuades her more 
 imperious companion to make friends once more with 
 the rueful youth who is executing a reluctant retreat in 
 
 the direction of the garden-gate, proved to have an irre- 
 sistible effect upon people of all classes. Like so many 
 other of Mr. Marcus Stone’s pictures, the ‘ Peacemaker ’ 
 was engraved, and the plates from it have found their 
 way, it is said, to every part of the world. The success 
 of the engraving was from the very moment of its publi- 
 cation almost without precedent; and even now it con- 
 tinues in constant and apparently inexhaustible demand. 
 Not long after the exhibiting of this picture the artist 
 was advanced to the full Aca- 
 demic rank ; and it was as 
 “ R.A. Elect ” that he appeared 
 in the 1887 Academy. The 
 canvas that he had ready for 
 this year was a small one, only 
 thirty-six inches by twelve, a 
 single figure of a girl standing 
 in a graceful pose, and holding 
 a basket of flowers. It was 
 entitled ‘Morning.’ By the 
 following spring, however, he 
 had two canvases available. 
 One was his Diploma picture, 
 ‘Good Friends,’ which, in ac- 
 cordance with the usual cus- 
 tom, had to be deposited at 
 Burlington House on his elec- 
 tion as Academician. Our il- 
 lustration, on this page, gives an 
 idea of the composition. The 
 other was ‘ In Love,’ a very 
 excellent and characteristic ex- 
 ample of his work. There w T as 
 in this canvas quite admirable 
 subtlety in the study of ex- 
 pression and in the manner in 
 which he rendered the unde- 
 clared emotions of his two 
 lovers. The intense feeling of 
 the young man, who is fasci- 
 nated by the graces of his fair 
 companion, is well contrasted 
 with her intentional and some- 
 what uneasy unconsciousness. 
 She is clearly well aware of his 
 admiration, and, woman - like, 
 affects an indifference which is 
 obviously artificial and de- 
 signed merely to fan his flame. 
 The whole affair is a piece of 
 acting, but he plays his part 
 with his whole soul, she in ac- 
 cordance with those rules of 
 art which are among the in- 
 stinctive attributes of her sex. 
 Of ‘ In Love ’ we give repro- 
 ductions of the first sketch 
 (page S), of a study for the girl’s figure (page 2), and 
 of the picture as finally completed as one of our extra 
 plates. 
 
 To this serious little drama succeeded, in 18S9, a lighter 
 piece of comedy, ‘ The First Love-Letter ’ (page 20), which 
 set forth picturesquely the gentle triumph of a young girl 
 who finds, for the first time in her life, that there is some 
 one who regards her as a woman fit to woo and win. 
 Another study of feminine unconsciousness, this time 
 unfeigned, appeared in 1S91, when he exhibited ‘Love at 
 First Sight,’ which followed a simply decorative figure- 
 subject, ‘Garden Flowers’ (see page 2), his only other 
 
 Good Friends, By Marcus Stone, R.A. (p. 22.) 
 Diploma Picture. 
 
 By permission of the Council of the Royal Academy. 
 
A Reverie. 
 
 By Marcus Stone , R.A. (p. 22 .) 
 
 Study for the picture * The Return of the Lover,’ published by The Berlin Photographic Co,, London. 
 
24 
 
 THE ART ANNUAL. 
 
 contribution to the 1S90 Academy. His second Aca- 
 demy picture for 1891, ‘ A Passing Cloud,’ is illustrated 
 at page 26. It recorded a less serious difference of 
 opinion than that which called for the interposition of 
 the gentle little intercessor in the ‘Peacemaker,’ and 
 was clearly, as its title indicated, but a momentary di- 
 vergence intended to add zest to a prompt process of 
 kissing and making friends again. To the artist it gave 
 an opportunity of designing a charming pose, and of 
 adding a delightful study of pettish beauty to his gallery 
 of feminine creations. The girl who has, with a fine 
 show of indignation, put a sufficient distance for proper 
 effect between her pretty 
 self and her fiance, is cer- 
 tainly one of the most 
 lovable members of Mr. 
 
 Marcus Stone’s large pic- 
 torial family, and she 
 loses none of her attrac- 
 tiveness by the fact that 
 she proves herself pos- 
 sessed of a spirited dis- 
 p sition. She is, despite 
 her baby face, blessed 
 with a sense of her im- 
 portance, and is quite 
 worth taking at her own 
 valuation. 
 
 The only work which 
 he exhibited at the Aca- 
 demy in 1S92 was ‘ Two’s 
 C o m p a 11 y, Three’ s 
 None,’ in which the 
 young couple, no longer 
 overshadowed by even a 
 fast-passing cloud, are 
 so clearly enjoying the 
 sunniest of weather that 
 the sister who should 
 play propriety hesitates 
 to break in upon their 
 tete-a-tete. Before the fol- 
 lowing spring came 
 round they were married, 
 for the next Academy 
 picture was the ‘ Honey- 
 moon ’ of which we have 
 a reproduction at page 1. 
 
 Secure in a serene sense 
 of mutual possession 
 they are living in a new 
 world. She lies with her 
 head resting against his 
 shoulder, while he reads 
 to her what must surely be poetry of the most ecstatic 
 type. The artist had devised this composition with a 
 very real sense of congruity between subject and treat- 
 ment, and the reticence which he observed in his 
 statement of his scene, the severity of the lines of 
 his grouping, and the absence of any great amount 
 of detail in the general arrangement were particularly 
 helpful and appropriate. It must be noted, by-the-way, 
 that before the appearance of the ‘ Honeymoon,’ he 
 painted another picture, ‘ Bright Summer ’ (illustrated 
 at page 3), which he did not send to the Academy. It 
 was but slightly incidental, merely a matter of pretty 
 lines and pleasant colour and telling no story beyond 
 that suggested by its title. 
 
 In 1894 he confined himself to comparatively small 
 
 canvases, three of which were at Burlington House. 
 'Autumn Fruits’ and ‘Winter Berries’ were single 
 figures (see page 21), such as he has often been wont to 
 alternate with his larger paintings. They w 7 ere simply 
 decorative panels more or less formally arranged, but 
 they have had a considerable sale as engravings. The 
 third exhibit was called ‘ A Stolen Kiss,’ a girl asleep on 
 a garden seat, while a youth, taking her unawares, steals 
 the kiss that in her waking moments she might for the 
 sake of propriety have refused him. 
 
 A picture of considerable importance was hung in the 
 large gallery of the Academy in 1895. This was ‘A 
 
 Sailor’s Sweetheart,’ an 
 extremely popular piece 
 of work, forming one of 
 our chief plates. It has 
 certain technical quali- 
 ties which distinguish it 
 rather markedly from 
 the majority of Mr. 
 Stone’s other pictures. 
 For one thing, the girl 
 who is the chief person- 
 age in the composition is 
 concerning herself with 
 thoughts, not of a lover 
 beside her, but of one 
 who is away from her, 
 voyaging in distant parts 
 of the w^orld, and ex- 
 posed to daily and hourly 
 perils, which are, in 
 some sort, incurred for 
 her sake. Quiet as is the 
 pose in which she sits, 
 her arms resting on the 
 low wall of a garden over- 
 looking a landlocked 
 harbour, it is evident 
 that her mind is busy, 
 and that she is looking 
 earnestly for the wan- 
 derer’s return. Her face 
 tells the story of the pic- 
 ture almost without the 
 aid of the accessories, 
 and without reference to 
 the sympathetic group of 
 her two parents who are 
 watching her at a little 
 distance. That her sweet- 
 heart is a sailor is hinted 
 at by the localising of 
 her dwelling-place at the 
 top of a cliff, high enough to provide her with a coign of 
 vantage from which she can watch that far-distant horizon 
 on which she hopes day by day that his ship may appear. 
 The landscape background of this picture, the quiet 
 estuary occupying the middle distance, the steep hill 
 beyond, backed with the blue-grey waters of the sea, and 
 the cliff garden with its stunted and wind-torn trees, 
 afford a considerable contrast to the more studied and 
 formal pleasure grounds full of terraces, sun-dials, and 
 clipped hedges, in which the artist has long delighted to 
 place his characters. 
 
 Fast year Mr. Stone gave us, instead of a subject 
 picture, one of his rare portraits, a small half-length 
 of a young brunette with features of a somewhat foreign 
 type of beauty. It was painted with characteristic 
 
 Miss Messel. 
 
 By Marcus Stone , R.A. (p. 25 .) 
 
t 
 
 Copyright, 1805 , by Photographische Gesellschaft. By permission of the Berlin Photographic Co., London, \V„ Publishers of the Large Plate. 
 

 
 
 
 • ■* 
 
MARCUS STONE , R.A.—HIS PICTURES. 
 
 25 
 
 delicacy of handling and with great charm of refined 
 colour ; and, despite the unpretentious scale of the 
 canvas, told in the exhibition with all the distinctive 
 individuality which 
 marks his larger can- 
 vases. From the popu- 
 lar point of view, the 
 absence of a more am- 
 bitious production was 
 doubtless a matter for 
 regret, but to profes- 
 sional opinion this 
 ‘ Portrait of Miss Mes- 
 sel ’ (see page 24) was 
 welcome enough as a 
 proof that the artist 
 could apply to strictly 
 imitative work the 
 same sound principles 
 of technical practice 
 which distinguish his 
 more abstract compo- 
 sitions. 
 
 Indeed, the record, 
 as far as it has gone, of 
 Mr. Marcus Stone’s 
 working life tends to 
 show that, instead of 
 being the limited spe- 
 cialist that unsympa- 
 thetic critics are apt to 
 call him, he is really 
 able to point to an un- 
 usually wide range of 
 performance. He has 
 covered during his 
 forty years of working 
 life more ground than 
 a casual observer would 
 imagine; and has 
 proved himself the 
 possessor of distinctly 
 comprehensive beliefs. 
 
 His sketches, perhaps, 
 show the extent of his 
 study even better than 
 his pictures, for in his slighter productions he is 
 less influenced by the inevitable limitations which are 
 imposed by exhibition conventions. He appears in such 
 Notes, many of which we illustrate, as his ‘ Boulogne 
 Fish Girl,’ as a student of local types, in his drawings of 
 Cats as a close observer of animal characteristics, in his 
 water-colour Landscapes as capable of selecting pictur- 
 esque bits and of representing them with vivacity and 
 sureness of touch, and in his paintings of Venetian and 
 Swiss scenery as able to treat great open-air subjects in a 
 manner which would have led him to success in thisbranch 
 of Art had he been able to exercise himself in it more fully. 
 
 In those canvases which he has contributed season after 
 season to the Academy and other galleries, the popular 
 demand has without doubt narrowed appreciably his 
 choice of material ; but this narrowing has clearly been 
 less a matter of preference with him than a result of 
 outside influences which have proved too powerful for 
 him to resist as strenuously as he might have desired. 
 
 His own popularity has forced him into a particular 
 manner of using his capacities, and has affected percep- 
 tibly his inclination to work out in new directions those 
 
 aesthetic problems 
 which fascinate him 
 with their variety 
 and absorbing interest. 
 It is undeniably to his 
 credit that the tempta- 
 tions of public appro- 
 bation have not led him 
 to forget the more seri- 
 ous side of his profes- 
 sion, and that instead 
 of becoming merely a 
 painter of pretty frivo- 
 lities he has kept in 
 steady view the inten- 
 tion, which he formed 
 before his following 
 grew large enough to 
 hamper him, to make 
 his art a means of ex- 
 pressing his studies of 
 human emotion and his 
 sense of decorative ar- 
 rangement. Consist- 
 ent he has always been, 
 as much in his experi- 
 ments as in his manner 
 of production, and for 
 this consistency he is 
 to be frankly praised. 
 It is by no means a 
 common quality. 
 
 In everything Mr. 
 Marcus Stone does, the 
 chief purpose is to put 
 on record a definite 
 opinion on the subject 
 of beauty, to make his 
 pictures as picturesque 
 in appearance as they 
 are in matter. Such 
 an ambition is by no 
 means an unworthy 
 one; it deserves on the contrary hearty recognition, as 
 a piece of distinct evidence that he has learned one of the 
 chief principles in art of the finest kind ; and it gives us 
 every reason to hope that he will, after finding his way 
 through the incidental motives of his youth into the 
 purer aestheticism of his present-day work, go still further 
 and prove himself to be a painter with a clearer percep- 
 tion of the real mission of pictorial art than is possessed 
 by the majority of contemporary artists. With his well- 
 ordered taste, his wide knowledge, and varied experience, 
 he may be quite fairly expected to touch, during the next 
 few years, levels far higher than those to which he has 
 already attained. His preparation for greater successes 
 has been thorough enough; and his popularity is so 
 solidly established that he could hardly fail to secure ac- 
 ceptance even for unexpected departures ; therefore, he is 
 of all men the one who could best afford to make serious 
 efforts to advance those articles of the artistic faith , which 
 are of the greatest value to the world at large. 
 
 Miss Frances Sterling. 
 
 By Marcus Stone, R.A. (p. 22 .) 
 
A Passing Cloud. By Marcus Stone, R.A. ( p . 24.) 
 
 By permission of Mr. Arthur Lucas, Publisher of the Large Plate 
 
 MARCUS STONE, R.A. 
 
 HIS METHODS. 
 
 One result of 
 the variety in Mr. 
 Marcus Stone’s 
 practice, and of 
 his study of many 
 phases of Art, 
 has been a readi- 
 ness, which is 
 rather unusual in 
 the case of an 
 artist of strong 
 individuality, to 
 admire impartial- 
 ly the productions 
 of very divergent 
 Sketch by Marcus Stone, R.A. (p. 25.) schools. His 
 
 cath olicity o f 
 
 opinion is beyond question, and his sympathies are of 
 the widest. Forms of practice quite unlike his own appeal 
 to him vividly ; and methods of expression with which 
 he has never experimented interest him quite as much 
 as those that have occupied him for many years of his 
 life. He is quite prepared to accept and to value at its 
 full worth every artistic attempt that is based upon 
 sound principles and that gives any real evidence of 
 sincere intention. The consciousness of his own devo- 
 tion inclines him to value the same quality in others, even 
 though they may be opposed to him both in conviction 
 and performance. 
 
 This catholicity of his taste has not been affected by the 
 fact that the lines within which he has of late preferred 
 to work are very definitely marked. In his own pictures 
 he inclines now to what is really a decorative purpose, to 
 a deliberate arrangement of both figures and accessories 
 which will give him a certain studied balance of lines 
 and masses. To this decorative intention everything 
 else is adapted, and no subsequent considerations of 
 dramatic effectiveness are allowed to modify the par- 
 ticular composition upon which he has determined. The 
 stories which he elects to tell are not actually the begin- 
 ning and end of his paintings, but they do suggest the 
 main lines of his groups, and serve to settle the plan 
 in accordance with which his space-filling is to be carried 
 out. They give him the basis upon which he builds the 
 larger superstructure, and, like any other foundation, they 
 are important chiefly because, by their support, the more 
 apparent edifice of fancy is kept from collapse. What is 
 of moment in them is the emotional incident with which 
 they deal ; and this has a real value because it fixes the 
 composition of the central fact in each picture, and 
 establishes the scheme of detail arrangement which is 
 then carried to completeness throughout the canvas. 
 
 So important does Mr. Marcus Stone consider the exact 
 construction of his fundamental group, and so indispen- 
 sable does he hold the realisation of its meaning to be, that 
 he insists upon explaining by the line composition, and 
 gestures, only of his figures whatever he may have to 
 say in his pictures. When the people he is depicting are 
 
MARCUS STONE, R.A.—HIS METHODS. 
 
 27 
 
 posed in such relation one to the other that the exact 
 purpose of theircoming together is beyond all doubt, and 
 when the emotion of the position in which they find 
 themselves is apparent in their attitudes and in every 
 turn of their limbs, he has what he holds to be the best 
 decorative basis for his picture. Upon this everything 
 else is fitted in purely ornamental relation. Nothing is 
 introduced with the theatrical idea of helping to fill up 
 a scenic situation, nothing is sacrificed to any considera- 
 tions of mere effect ; instead, the fullest attention is given 
 to completing the pictorial pattern. Everything that is 
 added by way of surrounding to the emotional motive is 
 there to satisfy an aesthetic end, to increase the optical 
 beauty of the picture, or to make more definite the pic- 
 turesqueness of the design. With what story there is to 
 be told put already in the clearest way upon the canvas, 
 the need to accentuate the dramatic meaning by various 
 significant accessories does not exist; all the remaining 
 
 in Mr. Marcus Stone’s methods of work than in that 
 followed by other artists. It is really the embodiment of 
 a very elaborate series of mental exercises, the result of a 
 considerably prolonged course of thought, during which 
 the idea that has come into his mind is subjected to a 
 severe process of balancing and adjustment. Every view 
 of the proposed subject is mentally examined, and its 
 various possibilities are tested in all practicable ways until 
 nothing remains in the smallest degree unexplained or 
 indefinite. It is not until this early stage in the evolu- 
 tion of his picture is complete, and his conviction about 
 the value of his motive is finally formed, that he makes 
 his first attempts to express it as a whole. These are at 
 the outset merely tentative, rough notes in black and 
 white of the main composition lines. They are small in 
 size and without the complication of any sort of detail. 
 If, even in this slight form, they tell their story intelli- 
 gibly and make their meaning sufficiently clear, he is 
 
 Russell & Sons, photo .] Marcus Stone , R.A., 
 
 In his Studio, painting ‘A Sailor's Sweetheart.' 
 
 energies of the artist go, then, to the bringing into agree- 
 ment with the immutable nucleus of the picture the 
 details of adornment which finish it and give to it its 
 perfect proportions. 
 
 Upon his rough preliminary sketch, then, more depends 
 
 satisfied that the motive he has been considering has in 
 it pictorial probabilities great enough to make it fit for 
 working out on a larger scale. 
 
 So he next starts a sketch in colour. This is of a 
 reasonably large size, big enough to give him scope for 
 
28 
 
 THE ART ANN HAL 
 
 putting down exactly 
 not only his figures and 
 their more important 
 surroundings, bnt also 
 minor accessories that 
 have varying degrees 
 of influence upon the 
 general decorative ef- 
 fect. It is drawn to 
 scale, too, so that every- 
 thing which is used in 
 it is in proper propor- 
 tion to the rest of the 
 design, and there is no 
 difficulty in determin- 
 ing the exact space that 
 each detail will occupy 
 in the picture itself 
 when finished. The 
 sketch is, however, not 
 necessarily completed 
 before the picture is 
 begun. He has instead 
 a custom of keeping it 
 going through most of 
 the time that he is en- 
 gaged with the larger 
 canvas, and of using it 
 as a convenient means 
 of testing the suitability 
 of whatever additions 
 he proposes to make to his original scheme. It becomes 
 in this way afield for experiment, on which he can struggle 
 
 with any difficulties 
 that occur during the 
 progress of his picture. 
 By its aid he can judge 
 exactly what is the best 
 way out of uncertain- 
 ties, and can solve each 
 debateable point finally 
 and completely. He is 
 so left unhampered by 
 any anxiety about the 
 effect which changes of 
 placing, or alterations 
 in the relative arrange- 
 ment of the objects which 
 help to fill his space, 
 may have upon the per- 
 manence of his work. 
 There is no need to 
 alarm himself about the 
 risk of carefully hidden 
 mistakes telling, as they 
 are often wont to do, in 
 after years through his 
 over-paintings. All the 
 amendments and 
 changes are made on 
 the sketch ; and when 
 they are worked out 
 and exactly settled 
 there, they are trans- 
 ferred without hesitation to the other canvas. 
 
 Before, however, he begins actual labour on this final 
 
 The House of Marcus Stone , R.A. (p. 30.) 
 
 Robinson, 'photo . ] 
 
 A Corner of Marcus Stone's Drawing-room. (p. 30.) 
 
MARCUS STONE, R.A.—HIS METHODS. 
 
 29 
 
 embodiment of his idea, he busies himself with a whole 
 series of studies of the figures and costumes. He has a 
 preconception of the facial and physical types with which 
 he wishes to deal, and he has made up his mind about 
 the character and arrangement of the costumes which his 
 characters are to wear, so that he puts himself to 
 some trouble to get models who will as far as possible 
 suit his mental view and will be reasonably at home 
 in the particular dresses he has selected. He has 
 no intention, 
 it is true, 
 of using them 
 without any 
 reservation, 
 or treating his 
 studies as ex- 
 act portraits 
 of the people 
 before him. 
 
 What he 
 really wants 
 is a means of 
 making him- 
 self sure of 
 such mecha- 
 nical facts as 
 do not clash 
 with his pic- 
 torial inten- 
 tion. His 
 studies are 
 of the nature 
 of notes, jot- 
 tings such as 
 a n orat o r 
 might make 
 fora speech so 
 astosavehim- 
 self from any 
 s ubseq uen t 
 reproach on 
 the score of 
 inaccuracy. 
 
 They are brief 
 but compre- 
 hensive, care- 
 ful in treat- 
 ment, but not 
 carried fur- 
 ther than is 
 absol utely 
 necessary for 
 the fulfilment 
 oftheirspecial 
 purpose. As 
 often as not 
 they are in 
 
 colour, painted in oils on brown paper, a method of working 
 which admits of considerable rapidity in execution, while 
 at the same time it makes possible a great deal of 
 suggestive statement of things worth remembering. 
 
 With these preliminaries duly settled, the carrying out 
 of the picture becomes a comparatively simple matter. 
 The artist, having at an early stage found out what 
 difficulties he has to overcome, runs no risk of being 
 taken by surprise or of being obliged to pause incon- 
 veniently in mid-course, to work his way out of some 
 awkward position into which he may have unwittingly 
 strayed through lack of acquaintance with the right road. 
 
 Mrs. Mar 
 
 He is able, also, to dispense almost entirely with direct 
 observation of nature, and to devote all his energies to 
 the realisation of his mental images. It is true that he has 
 before him, while he paints, his model, his costumes, and 
 whatever of his accessory objects he can gather together; 
 but he uses them simply for reference, to look at now 
 and then, not to copy minutely. His purpose now is 
 to weld into a solid whole what he has thought out 
 in the earliest stage of all, and what he has stored 
 
 up by the in- 
 termedi ate 
 process of 
 note-making. 
 It is conve- 
 nient for him, 
 mean while, 
 to have before 
 him s o m e- 
 thing that ap- 
 proximates to 
 this or that 
 fact that is 
 to have a 
 place on the 
 canvas ; but 
 under his sys- 
 tem any di- 
 rect use of 
 nature at this 
 moment in 
 the evolving 
 of his picture 
 would be 
 111 ore of a 
 hindrance 
 than any- 
 thing else. 
 He would re- 
 gard it as a 
 check upon 
 that free ex- 
 pression of 
 his ideas 
 which is the 
 one thing for 
 which he 
 craves, and 
 would find it 
 tend to intro- 
 duce an ele- 
 ment of un- 
 certainty into 
 the realising 
 of his impres- 
 ts Stone. sion. 
 
 From the Painting by L. Alma Tadema, R.A. , ,, 
 
 Perhaps the 
 
 best way of 
 
 describing the character of his pictures would be to say 
 that they reflect the spirit of nature rather than her exact 
 aspect. All her ways and customs have been by him ex- 
 amined with extreme care, and copious notes have been 
 during many years taken of her phases. Meanwhile, he 
 has on the knowledge acquired in this way, built up a con- 
 viction of his own about the way in which she should 
 be represented. It may be termed a convention, but at 
 all events it is one that gives him the opportunities 
 which he desires most, and it enables him to make sure 
 of getting that particular decorative atmosphere in 
 which he prefers to invest his favourite subjects. 
 
A Part of the Studio of Marcus Stone, R.A. (p. 30 .) 
 
 MARCUS STONE, R.A. 
 
 HOME LIFE. 
 
 As befits an artist with whom fortune has dealt kindly, 
 Mr. Marcus Stone has established himself in a home 
 which is quite in keeping with the position he holds in 
 the art world. There is, about his tasteful house in 
 Melbury Road, nothing of the incongruity between 
 genius and its surroundings, the contrast between a 
 poverty-stricken studio and the great works of art pro- 
 duced in it on which novelists are so prone to enlarge. 
 Among the stately residences of men well known in the 
 records of art, who have settled in that pleasant part of 
 
 Garden Front of the House of Marcus Stone, R.A. (p. 31 .) 
 
 Kensington, the one in which he lives is conspicuous for 
 its aspect of comfort and artistic appropriateness. It is a 
 spacious, well-proportioned building with a picturesque 
 exterior which by its character and special features pro- 
 claims the profession of the occupant. For neighbours 
 Mr. Marcus Stone has many distinguished members of 
 the Royal Academy. His garden adjoins that of the 
 house in which Lord Leighton worked for so many years; 
 next door to him is Little Holland House, where Mr. G. 
 F. Watts has spent a great portion of his long and active 
 life; right and left in the same road, Mr. Hamo Tliorny- 
 croft and Mr. Colin Hunter have settled ; and nearly 
 opposite is Mr. Luke Fildes. Within a few yards is that 
 delightful oasis in the midst of over -built London, 
 Holland Park, which, with its magnificent trees and its 
 stretches of greenery, gives to Melbury Road the ap- 
 pearance of a country highway, rather than of a street 
 in a busy quarter of the metropolis. Life in such sur- 
 roundings is a much pleasanter process than it could 
 ever be amid the bustle and turmoil of less favoured 
 parts of our restless city ; and to an artist of Mr. Marcus 
 Stone’s temperament this almost rural seclusion, which 
 yet does not cut him off from communion with kindred 
 spirits, must be peculiarly grateful. 
 
 Inside, his house is essentially in keeping with his 
 tastes. His studio, for instance, is no mere workshop 
 with bare walls and unkempt appearance. It is an apart- 
 ment large enough to occupy nearly the whole of the 
 upper part of the house, excellently lighted, and ad- 
 mirably adapted for its purpose. The walls are covered 
 with tapestries of great beauty, hangings which, by 
 their excellence of design and charm of harmonious 
 colour, serve as nothing else could to decorate effectively 
 yet unobtrusively a room in which it is imperative that 
 there should be no jarring note or discordant touch. 
 Opening out of the larger studio is a glass-house, an 
 essential convenience for an artist who has a preference 
 for painting open-air subjects. It affords him facilities 
 for observing those delicacies of tone relation which are to 
 a man of Mr. Marcus Stone’s inclination the most fascinat- 
 ing subjects for technical study ; and it helps him by its 
 
MARCUS STONE, R.A. — HOME LIFE. 
 
 3i 
 
 brilliant yet diffused lighting to preserve that cleanliness 
 of colour which has always been one of the best char- 
 acteristics of his work. He has, indeed, spared no pains 
 to provide himself with every facility for realising, with- 
 out undue effort, all his best intentions. He is fortunate, 
 too, in the possession of a delightfully-shaded garden, 
 where tall trees with overhanging branches give him 
 just the backgrounds in which he delights. There is 
 no need for him to stray far afield to find appropriate 
 
 ously an accompaniment of an equally vigorous mind. 
 The suggestion of alertness and close observation, which 
 is given by his keen glance and shrew T d expression, is 
 borne out by the physical character of his well-knit 
 frame. He looks like a man who could hold his own in 
 any difficulty, who would, in fact, be better to have as an 
 ally than as an opponent. And in manner he has the 
 easy self-confidence which is the usual accompaniment 
 of sturdy strength. He is genial, kindly, and considerate, 
 
 The Studio of Marcus Stone , R.A (p. 30.) 
 
 settings for his compositions ; from his own windows he 
 can see all that is necessary for the completion of his 
 pictures, and he has there always before him constant 
 reminders of the way in which nature makes her best- 
 balanced arrangements. Few artists’ houses could pre- 
 sent a happier combination of advantages, or could pre- 
 tend to serve to anything like the same extent the 
 double purpose of a delightful dwelling and an ideal 
 working place. 
 
 Mr. Marcus Stone himself, as the presiding genius 01 
 the house, is altogether in keeping with his surround- 
 ings. Tall, athletic, and in the prime of life, he is 
 possessed of an appearance quite appropriate to the 
 stately proportions of his rooms. His vigorous person- 
 ality, which unites with a distinctly artistic picturesque- 
 ness a certain military uprightness of carriage, is obvi- 
 
 a talker who makes no secret 01 his opinions, but does 
 not seek to gain a cheap reputation for humour by 
 cynicism or careless bitterness. Nor has popularity made 
 him boastful or self-assertive. Surrounded though he 
 is with all the evidences of his own success, he has re- 
 mained modestly aware of the necessity for keeping, in 
 his artistic practice, a constant watch upon himself, and 
 he never forgets to what a life of endless endeavour a 
 painter is committed to the very end of his days. He 
 preaches, as he practises, with earnest recognition of 
 the need of perpetual effort to add to his stock of ex- 
 perience ; and to perfect the mental view which he has 
 based upon years of study and careful comparison of 
 the many matters that have, during his busy career, 
 aided him in the formation of sound artistic conclu- 
 sions. 
 
 Alfred Fys Baldry. 
 
The Lawn. A Water-Colour Sketch, (p. 25.) 
 
 By Marcus Stone, R.A. 
 
 THE WORKS OF MARCUS STONE, R.A. 
 
 A LIST OF THE CHIEF PICTURES PAINTED BY MARCUS STONE, R.A., OF WHICH THE GREAT 
 MAJORITY HAVE BEEN EXHIBITED AT THE ROYAL ACADEMY, LONDON. 
 
 185S. ‘ Rest.’ (R.A.) 
 
 1S59. ‘ Silent Pleading.’ (R.A.) 
 
 1860. ‘ The Sword of the Lord and Gideon.’ (R.A.) 
 
 1861. ‘ Claudio accuses Hero.’ (R.A.) 
 
 1862. ‘ A Young Painter’s First Works.’ (R.A.) 
 
 1863. ‘ On the Road from Waterloo to Paris,’ p. 19. (R.A.) 
 ‘Watt discovering the Condensation of Steam,’ 
 
 p. 13. (Not exhibited.) 
 
 1564. ‘ Working and Shirking.’ (R.A.) 
 
 1565. ‘ Old Letters.’ (R.A.) 
 
 1866. ‘ Stealing the Keys.’ (R.A.) 
 
 ‘ Royalists seeking Refuge in the Plouse of a 
 Puritan.’ (Not exhibited.) 
 
 1867. ‘Nell Gwynne.’ (R.A.) 
 
 186S. ‘ An Interrupted Duel,’ p. 7. (R.A.) 
 
 1S69. ‘ The Princess Elizabeth obliged to attend Mass.’ 
 
 (R.A.) 
 
 1870. ‘ Henry VIII. and Anne Boleyn observed by Queen 
 
 Katherine.’ (R.A.) 
 
 1871. ‘The Royal Nursery, 1538,’ p. 14. (R.A.) 
 
 1S72. ‘ Edward II. and Piers Gaveston.’ (R.A.) En- 
 
 graved Plate by J. Stephenson. 
 
 1873. ‘ Le Roi est Mort — Vive le Roi ! ’ (R.A.) 
 
 1S74. ‘My Lady is a Widow and Childless,’ p. 18. (R.A.) 
 ‘ A Street Door in Venice.’ (Not exhibited.) 
 
 1875. ‘ Sain et Sauf,’ p. 15. (R.A.) 
 
 1876. ‘ Rejected.’ (R.A.) 
 
 ‘An Appeal for Mercy,’ p. 21. (R.A.) 
 
 1877. ‘Sacrifice,’ p. 18. (R.A.) 
 
 ‘ Waiting at the Gate.’ (R.A.) 
 
 1878. ‘ The Post Bag.’ (R.A.) 
 
 ‘ Head of a Girl.’ (R.A.) 
 
 ‘Fruit-Seller.’ (R.A.) 
 
 ‘ The Time of Roses.’ (R.A.) 
 
 1879. ‘ In the Shade,’ p. 4. (R.A.) 
 
 1879. ‘ Summer Time.’ (R.A.) 
 
 ‘Discord.’ (R.A.) 
 
 18S0. ‘ Amour ou Patrie ? ’ p. 6. (R.A.) 
 
 ‘ Olivia and Dick Primrose.’ (R.A.) 
 
 1S81. ‘Married for Love.’ (R.A.) 
 
 1882. ‘II y en a toujours un Autre.’ (A Prior Attach- 
 
 ment.) (R.A.) Frontispiece. 
 
 ‘Bad News.’ (R.A.) 
 
 ‘ Portrait of Miss Frances Sterling,’ p. 25. (R.A.) 
 
 ‘ The Foundling.’ (R.A.) 
 
 1883. ‘ An Offer of Marriage,’ p. 5. (R.A.) 
 
 ‘Asleep,’ p. 17. (R.A.) 
 
 ‘The Lost Bird.’ (The Fine Art Society.) 
 
 18S4. ‘Fallen Out.’ (R.A.) 
 
 ‘Reconciled.’ (R.A.) 
 
 1885. ‘A Gambler’s Wife.’ (R.A.) 
 
 1556. ‘ A Peacemaker,’ p. 7. (R.A.) 
 
 1557. ‘Morning.’ (R.A.) 
 
 1558. ‘In Love.’ (R.A.) Separate Plate. 
 
 ‘Good Friends,’ p. 22. (R.A.) 
 
 18S9. ‘The First Love-Letter,’ p. 20. (R.A.) 
 
 ‘ The Lover’s Return.’ (Not exhibited.) 
 
 1890. ‘ Garden Flowers,’ p. 2. (R.A.) 
 
 ‘Wild Flowers,’ p. 2. (Not exhibited.) 
 
 1891. ‘ Love at First Sight.’ (R.A.) 
 
 ‘A Passing Cloud,’ p. 26. (R.A.) 
 
 1S92. ‘ Two’s Company, Three’s None.’ (R.A.) 
 
 1893. ‘ A Honeymoon,’ p. 1. (R.A.) 
 
 ‘Bright Summer,’ p. 3. (Not exhibited.) 
 
 1894. ‘Autumn Fruits,’ p. 21. (R.A.) 
 
 ‘ Winter Berries,’ p. 21. (R.A.) 
 
 ‘ A Stolen Kiss.’ (R.A.) 
 
 1895. ‘ A Sailor’s Sweetheart.’ Separate Plate. (R.A.) 
 
 1896. ‘ Portrait of Miss Messel,’ p- 24. (R.A.) 
 ‘Seventeen.’ (Not yet exhibited.) 
 
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 RETURN. 
 
 By ARTHUR BECKINGHAM. 
 Companion to “ In the Shade.” 
 
 Marcus Stone, R.A. 
 
 Artists’s Proofs 
 Print . . . . 
 
 £4 s. 
 £1 is. 
 
 A POSY TOR YOU, 
 SWEETHEART. 
 
 By HARRIETTE SUTCLIFFE. 
 
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 IN THE SHADE. 
 
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 FLOWER WORSHIP. 
 
 By C. F.. PERUGINI, Royal 
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 Artist’s Proofs . . . . ^4 4s. 
 
 Print .. .. .. .. jfi is, 
 
 STEADY. 
 
 By FRED MORGAN. 
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 Print £1 is. 
 
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 OF FIFE. 
 
 After the Painting by SYDNEY P. HALL. 
 
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 After DAUBIGNY by C. FONCE. 
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 Vellum Proofs 
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 £ l is- 
 
 THE END OF THE DAY. 
 
 After G. WETHERBEE, R.I., by 
 
 WRIGHT NOOTH. 
 Companion to “ End of the Harvest.” 
 Vellum Proofs . . . . ^5 5s.. 
 
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 After MEISSONIER bv 
 
 RODRIGUEZ. 
 
 Vellum Proofs . . , . ^3 3s. 
 
 Prints .. .. ,, ,, £1 is. 
 
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 Original Etching by HERBERT DICKSEE. 
 
 Vellum Proofs, £5 5s. ; India Print, £1 us. 6d. ; Print, £1 is. 
 
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 Text by M. THIEB AULT-SISSON. 
 
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 Christmas flumbef, 1896. 
 
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 a foundation for individual effort on the part of the student, this course has been arranged in 
 a series of twenty-four graduated exeiciEes, which are ihe result of many years' experienee of 
 a practical wood-carver and teacher. 
 
 Model Drawing and Shading from Casts. A Complete 
 
 Guide to the Elementary and Advanced Examinations in these subjects. 
 By T. C. Barfield, Art Master, Hinkley Grammar School. With Illus- 
 trations by the Author. Crown 8vo, 2s. Gd. 
 
 These lessons are the outcome of many years’ practical experience, and will prove a safe 
 guide to this interesting subject. They will be found specially adapted for preparing 
 Students for the Second Grade Examination. 
 
 A Book of Studies in Plant Form. With some Sugges- 
 tions for their Application to Design. By W. Midgley and A. E. Y. 
 Lilley. Containing nearly 200 Illustrations. Large Crown 8vo, 4s. 
 
 The realistic art tendencies of the day have made a constant reference to natural plant- 
 form indispensable, especially in the department of decorative art, and the numerous studies 
 of every kind of beautiful leaf and flower form make this work a very useful manual to the 
 lover, the student, and the critic of modern art. 
 
 Figure Drawing and Composition. Being a number of 
 
 Hints for the Student and Designer upon the Treatment of the Human 
 Figure. By Richard G. Hatton, Head Master, Art School, Durham 
 College of Science, Newcastle-on-Tyne. With 500 Diagrams. Crown 8vo,9s. 
 The Athenaeum says: ‘‘ Extremely instructive and thoroughly logical treatise. Mr. 
 Hatton has written a greater amount of common sense on the subject of drapery .... than 
 we remember to have met elsewhere. ...” 
 
 Elementary Design. Being’ a Theoretical and Practical Intro- 
 duction in the Art of Decoration. By Richard G. Hatton. With 110 
 Illustrations. Crown 8vo, 2s. 6d. 
 
 The work is divided into twelve chapters, which treat of Certain Principles of Decorative 
 Art; Dynamic and Static Forms; The Pnradox of Decoration; Construction of Details; 
 Filling Spaces ; Distribution of Masses ; Method of Delineation ; Geometrical Disposition 
 and Arrangements ; .Setting out Repeating Borders; Endless Patterns; and Interest and 
 Expression.) 
 
 Plants, and their Application to Ornament. Edited 
 
 by Eugene Gkasset. This Work will appear in Twelve Monthly Parts. 
 Bart I. issued in May, 1896. Each Part contains Six Plates coloured by 
 hand, two of which are devoted to the Study of the Plant, and the other 
 four to their Ornamental Application. The complete Work will contain 
 72 Plates. This work will be sold by subscription only. Price 8s. each 
 Part nett, post free. Specimen Plate, reduced by one-half, will be sent on 
 application. 
 
 Decorative Design. An Elementary Text-Book of Principles 
 
 and Practice. By Frank G. Jackson, Lecturer on Principles of Ornament 
 and Teacher of Technical Art Processes in the Birmingham School of Art. 
 Fully Illustrated. Third Edition. Large crown 8vo, 7s. 6d. 
 
 The intention of the Author is to assist young students in their early decorative attempts 
 by showing them the constructive origin of Ornamentation, and to place before them such 
 guiding principles and orderly methods as are lound to underlie all tiue decoration of every 
 kind. 
 
 The Theory and Practice of Design. An Advanced Text- 
 
 Book on Decorative Art. By Frank G. Jackson. Being a Sequel to the 
 Author’s “Lessons on Decorative Design.” With 700 Illustrations. 
 Large crown 8vo, 9s. 
 
 This is a continuation of Mr. Jackson’s Book on Decorative Design, and is intended to 
 help advanced students. Throughout the work the Author insistsupon the observance of prin- 
 ciples, regard for construction and the law of development, as necessary aids in a student’s 
 education. 
 
 The Principles of Ornament. By James Ward, Maccles- 
 field School of Art. Edited by George AiTCHison, A.R.A., Professor of 
 Architecture at the Royal Academy of Art. Fully Illustrated. A New and 
 Revised Edition. Crown 8vo, 7s. 6d. 
 
 Although there are many excellent text-books on Ornament, there are none that exclu- 
 sively treat of the theory or what is known as the “ principles of ornament.” To meet this 
 want this volume has been produced. 
 
 Raphael: his Life, Work, and Times. By Eugene 
 
 Muntz. A New and Cheap Edition condensed from the large original 
 work. Royal 8vo, 7s. 6d. 
 
 The translation of this very important original work in French, a European classic, being 
 nearly out of print, and its high price putting it out of the reach of the art student and 
 general reader, it has been slightly abbreviated and converted into its present still bulky 
 shape. All the beet illustrations have been retained. 
 
 Sciography ; or, Radial Projection of Shadows. 
 
 Selected by tlie Science and Art Department a9 one of the Prizes to success- 
 ful Students. By R. Campbell Puckett, Ph.D., Examiner for Art, Science 
 and Art Department. Third Edition. Illustrated. 8vo, cloth, 6s. 
 
 CHAPMAN & HALL, Limited, LONDON. 
 
THE ART ANNUAL ADVERTISER, 
 
 11 
 
 PROFUSELY ILLUSTRATED. READY ABOUT CHRISTMAS. 
 
 • > V 
 
 A HANDSOME PRESENT, 
 
 Super Royal 4to, cloth gilt, gilt edges. 
 
 ; . j - - '■ 
 
 To be Published at 21 /- Price to Subscribers , before Publication, 10/6 nett. 
 
 BRITISH 
 
 GOLF LINKS. 
 
 A SHORT ACCOUNT OF THE 
 
 Leading Golf Links of the United Kingdom . 
 
 ptitlj Uurocnnttf of tljc gink*, 
 
 AND 
 
 PORTRAITS OF CAPTAINS, SECRETARIES, PROFESSIONALS, AND OTHERS 
 
 EDITED BY 
 
 HORACE HUTCHINSON. 
 
 ®Jje goUanmjg ginks will be gjUlustratcb t 
 
 (TUTS LIST IS SUBJECT TO REVISION.) 
 
 ST. ANDREWS. 
 
 BRIGHTON. 
 
 HOYLAKE. 
 
 SANDWICH. 
 
 CHISELHURST. 
 
 LEVEN. 
 
 PORTRUSH. 
 
 COVENTRY 
 
 LYTHAM. 
 
 ABERDEEN. 
 
 CARNOUSTIE. 
 
 MACHRIHANISH. 
 
 ABERDOVEY. 
 
 CANNES. 
 
 MINCHINHAMPTON. 
 
 ALDBURGH 
 
 DOLLYMOUNT. 
 
 MITCHAM. 
 
 ALNMOUTH. 
 
 EASTBOURNE. 
 
 MONTROSE. 
 
 BEMBRIDGE. 
 
 EDINBURGH. 
 
 MUIRFIFLD. 
 
 BIARRITZ. 
 
 ELTHAM. 
 
 MUSSELBURGH. 
 
 BLACKHEATH. 
 
 FELIXSTOWE. 
 
 NAIRN. 
 
 BOURNEMOUTH 
 
 GREAT YARMOUTH. 
 
 NEWCASTLE. 
 
 BRANCASTER. 
 
 HARLECH. 
 
 
 NORTH BERWICK. 
 PRESTWICK. 
 RICHMOND. 
 ROMFORD. 
 SCARBOROUGH. 
 SUDBROOK PARK. 
 THE CINQUE PORTS. 
 TOOTING. 
 
 TROON. 
 
 WESTWARD HO! 
 WIMBLEDON. 
 
 London : J. S. VIRTUE & CO., Limited, 294, City Road, E.C. 
 
PATRONISED BY ROYALTY. 
 
 A CANDLE YET 
 f NOT A CANDLE. 
 
 Section Showing Construc- 
 tion of Arctic Lamp. 
 
 J,T is made on the same 
 principle as a carriage 
 or reading lamp, in which 
 the candle, enclosed in a 
 metal tube, is forced up as 
 it bums by means of a spiral 
 spring inside, the candle 
 being burned to the very 
 end without waste. 
 
 PH ICE, 
 
 COMPLETE WITH SHADE 
 SUPPORT, 6 IN. FOR SMALL 
 CANDLESTICKS, PIANOS, &C. 
 BRASS FITTINGS, 
 
 3s, 
 
 PC# - 
 
 PLATED FITTINGS, 
 lOs. 6 d. 
 per 80S.BS-, 
 
 Candles for burning in same, 
 Is. 4d. per box of twelve. 
 
 GREEN’S PATENT. 
 
 The mcst perfect light given ever invented. 
 
 When in use exactly resembles a wax candle, which always remains the 
 . same height. 
 
 Fits in any candlestick or piano sconce. 
 
 Ordinary candle shades can he used with perfect safety. 
 
 No guttering ; no waste ; no smoke ; no smell. 
 
 Burns ordinary candles. 
 
 A CANDLE YET 
 NOT A CANDLE. 
 
 The Arctic Lamp Fitted in 
 Ordinary Candlestick. 
 
 CHOW1NG the shade 
 support with patent 
 extinguisher attached. As 
 these are fixed, there is no 
 danger of the shade coming- 
 in contact with the flame 
 and being set alight. 
 
 PRICE, 
 
 COMPLETE WITH SHADE 
 SUPPORT, 8 IN. FOR TALL 
 CANDLES! ICKS, &C. 
 
 BRASS FITTINGS, 
 
 lOs. Od. 
 per pair. 
 PLATED FITTINGS, 
 
 11 s. 6d. 
 per pair. 
 
 Candles for burning in same, 
 2s. per box of twelve. 
 
 { 
 
 ♦j. The y are use d in the Leading Hotels and Clubs in England and Abroad, thus testifying to their Great 
 
 Advantages over unprotected candles. 
 
 I hey cAn be obtained through any of the leading Silversmiths, Lamp Dealers, or Furnishing Ironmongers in the United Kingdom, or can 
 
 be seen in use at the Showrooms of 
 
 1 
 
 | The ARCTIC LIGHT CO., 179, Regent Street, London, W. 
 
 ♦> Illustrated Pamphlet and Catalogue on Application Wholesale Offices: 49, HATTON GARDEN, LONDON, E C. 
 
 
 
 
TEE ART ANNUAL ADVERTISER. 
 
 13 
 
 “BELFAST HOUSE.” 
 
 ESTABLISHED 1766. 
 
 WALPOLE BROTHERS, Ltd. 
 
 gxuvj) gin m rntb glcmtask Iptmjitfactnret*# 
 
 To His Royal High-bees THE TRINCE OP WALES. I The Right Hon. the EARL of ELGIN, VICEROY OP INDIA. | His Excellency The LORD LIEUTENANT of IRELAND. 
 
 His Excellency The GOVERNOR GENERAL of CANADA. | The Right Hon. The COMMANDER OP THE FORCES and the OFFICERS OF THE GARRISON IN IRELAND, &e. 
 
 Jl STEP m ADYAIOE, 
 
 WALPOLE BROTHERS have taken a most important slep altogether to the advantage of the purchaser, and 
 they now undertake to deliver all Household Linen ordered from them beautifully Hemmed and Marked in Ink free of charge. 
 
 In order to show what this means to the purchaser, WALPOLE BROTHERS have issued a Ready-Made List, wnich they send 
 free on application, and will send single articles of any of the Goods on it. These can be returned if not approved of, and the money will 
 be at once refunded without any deduction. This gives opportunity of testing the goods not afforded by Patterns, and Ladies can 
 then send their orders in perfect conlidence that they will get what they select. 
 
 PLEASE WRITE FOR LIST AND SAMPLES TO TEST THE VALUE. 
 
 LINEN OUTFITS FOR WEDDINGS A SPECIALITY. 
 
 IRISH CAMBRIC HANDKERCHIEFS FOR CHRISTMAS PRESENTS. 
 
 INITIAL HANDKERCHIEFS, richly embroidtred on fine Irish Hemstitched Cambric Handkerchiefs, Ladies’ size at 7/6 and 10/6 doz. very suitable for Presents. 
 
 Ladies’ Cambric Handkerchiefs, 1/11, 2/2, 3/8, 5/3 pir dozen. Hemstitched do., 3 -, 3/6, 5/6, 7/6 per dozen. 
 
 Gentlemen’s Hemstitched do., 5/-, 6/6, 8/6, 10/6 per dozen. 
 
 Any of above in Fancy Box, 6d. extra per dor, 
 
 TABLE DAMASK AFTERNOON TEA-CLOTHS Hemstitched and Embroidered in great variety. 
 
 Estimates furnished to any amount. Price Lists and Patterns of any of above sent Free to any Address at Home or Abroad. 
 
 IRISH LACES ait Makers’ Prices. 
 
 Carriaye Paid to all parts of the Country on Orders of £1 and upwards. 
 
 SO, .New Bond St., and 102 , Kensington High St, London, TV. 
 
 DUBLIN: 8 & 9, Suffolk Street; BELFAST: 16, Bedford Street; BIRMINGHAM: 45 & 47, Corporation Street. 
 
 MANUFACTORY: Waringstown (co. Down). 
 
14 
 
 THE ART ANNUAL ADVERTISER. 
 
 SCOTTISH PROVIDENT INSTITUTION. 
 
 EDINBURGH — 6, St. Andrew Square. 
 
 LONDON OFFICE— 17, King William Street, E.C. 
 
 This Society combines the advantages of 
 
 Mutual Assurance with Moderate Premiums. 
 
 The Premiums are so moderate that, at usual ages for Assurance, <£1,200 or £1,250 may generally be secured 
 from the first for the same yearly payment which in most offices would be charged (with profits) for £1,000 only — 
 equivalent to an immediate and certain bonus of 20 to 25 per cent. 
 
 The Whole Surplus goes to the Policyholders on a system at once safe and equitable, — no share going to 
 those by whose early death there is a loss to the common fund. Large divisions have thus been, and will be, made 
 to the policies of those who participate, notwithstanding the lowness of the premiums. 
 
 The Surplus at the 7th Septennial Investigation with division of profits (1894), amounted to £1,423,018, or deducting amount already paid as Intermediate 
 Bonuses, £1,362,186 — of which £970,391 was divided among 13,220 Policies entitled to participate, and £391,796 reserved for future accumulation and division. 
 
 For Policies sharing a first time, the addition — speaking generally, varied according to class and duration, from 15 or 18 to upwards of 32 per cent. Policies of 
 £1,000, which shared at previous investigations, were raised to £1,500, £1,600, £1,800 and upwards. 
 
 New Assurances completed in 1895 were £1,613,200. 
 
 Premiums in year, £676,850. Total Income, £1,052,900. 
 
 The Claims (including Bonus Additions*) were £478,070. * These averaged 50 per cent, on the Assurances which participated. 
 
 The ACCUMULATED FUNDS now exceed £9,500,000. 
 
 Examples of Premiums for Assurance of £100 at Death — with Profits. 
 
 Age. 
 
 Payable for Life. 
 
 21 Payments. 
 
 Age. 
 
 Payable for Life. 
 
 21 Payments. 
 
 Age. j Payable for Life. 
 
 21 Payments. 
 
 26 
 
 £1 18 0 
 
 £2 12 6 
 
 35 
 
 £2 6 10 
 
 £3 0 2 
 
 45 1 £359 
 
 £3 17 6 
 
 30 
 
 2 1 6* 
 
 2 15 4 
 
 40 
 
 2 14 9 
 
 3 7 5f 
 
 50 4 1 7 
 
 4 12 1 
 
 [The usual non-participating Rates differ little from these Premiums.] 
 
 * A person of 30 may secure £1,000 at death, by a yearly payment, during life , of £20 : 15s. This premium would generally elsewhere secure £800 only, instead of 
 £1,000. OR, he may secure £1,000 by 21 yearly payments of £27 : 13 : 4 — being thus free of payment after age 50. 
 
 f At age 40, the Premium ceasing at age 60, is, for £1,000, £33 : 14 : 2,— about the same as most Offices require during the whole term of life. Before the 
 Premiums have ceased the Policy will have shared in at least one division of profits, and, while in force will continue to participate. 
 
 To Professional Men and others, whose income is dependent on continuance of health, this limited payment is specially recommended. 
 
 All Policies (not seafaring or military risks, for which special arrangements may be made) are WORLD-W De, and free from 
 restrictions on residence after five years — provided the Assured has attained the age of 30. 
 
 REPORTS with full information may be had on application. 
 
 J. MUIR LEITCH, London Secretary. JAMES GRAHAM WATSON, Manager. 
 
 THE “STANDARD” 
 
 |-plate Keyless Lever. 
 
 ENGLISH MADE. 
 
 OPEN FACE, CRYSTAL GLASS 
 (as Illustration). 
 
 Silver £2 10s, 
 
 18-ct. Gold £13 13s. 
 
 FULL HUNTING CASES. 
 
 Silver £3 Os. 
 
 18-ct. Gold £16 10s. 
 
 DEMI-HUNTING CASES. 
 
 Silver £3 5s. 
 
 18-ct. Gold £16 16s. 
 
 ALL CASES ARE HALL MARKED. 
 
 Post free to every part of the World. 
 
 5 Years' Warranty sent with each. 
 
 Real cut expansion balances, safety centre pinions, 
 jewelled in rubies, Rreguet springs, and every modern 
 improvement. 
 
 Illustrated Price Lists Free. 
 
 The MINUTE, August loth, 1896 says:— 
 
 “ My many readers are so constantly asking me to recommend them a good 
 place to get a watch that I have been making inquiries amongst my friends, 
 especially amongst those who are ‘ knowing ’ about these matters. They tell 
 me that if you want a really sound watch at a very reasonable price, you cannot 
 possibly do better than go to the British Watch Co. and get one of their 
 ‘ Standard ’ English Levers. These watches, so I am told, are about the best in 
 the market.” 
 
 THE BRITISH WATCH COMPANY, 
 
 22, Thavies’ Inn, Holborn Circus, 
 LONDON, E.C. 
 
 (Please mention paper.) 
 
THE ART ANNUAL ADVERTISER. 
 
 15 
 
 SUN 
 
 INSURANCE 
 
 OFFICE 
 
 Head Office:— 63, THBEADNEEDLE STREET, E.C. 
 
 60, Oharing Cross, S.W. 
 
 r 
 
 BRANCH OFFICES IN LONDON 
 
 j 332, Oxford Street, W. 
 42, Mincing Lane, E.C. 
 
 SUM INSURED IN 1895 
 
 £390,775,000. 
 
 9 
 
 “$lack anil pUjite*” 
 
 NOTICE. — MR. HENRY BLACKBURN’S 
 STUDIO is open five days a week for the Study 
 and Practice of DRAWING FOR THE PRESS 
 with Technical Assistants. Students join at any 
 time. A Printing Press is now added. 
 
 Private Instruction and by Correspondence. 
 
 123, Victoria Street, Westminster 
 
 {Near Army dr* Navy Stores). 
 
 John Wilson & Sons’ Napery 
 
 ^ The Best and The Cheapest 
 Table Damasks : Sheetings 
 
 Curtains 
 Handken 
 chiefs 
 
 New Price List L S^mples Free' 5 
 
 BeS^^elfas^Priees 
 
 etl59Nev#BondStO 
 
 S -A. TJ 3lT ID El jRj S 7 S FACE POWDER, 
 
 BLOOIC OF ST I XT ON. 
 
 Retains its superiority over all other cosmetics for preserving the Beauty and Freshness of the Complexion. It is of a delicate roseate hue and perfectly harmless. 
 Pries 6d., Is., and 2s. 6d. ; free by post for 7, 13, or 33 stamps. 
 
 Also prepared without colour as Saunders’s Pure White Face Powder, and for Brunettes of a Jaune or Cream tint. Price Is. or 2s. 6d. ; free for 13 or 33 stamps. 
 
 To avoid the substitution of the many worthless imitations of this world-renowned article, observe the name and address, 
 
 J. TOUZEAU SAUNDERS, 312, OXFORD STREET, LONDON, W. 
 
 Sold by all Chemists and Perfumers throughout the World. 
 
 DoritCough-use| 
 
 They at once check the Cough 
 and remove the cause. 
 
 The Unrivalled 
 
 One Lozenge alone relieves. 
 
 Sold every whoie, Tius 13^d. each. 
 
 Keating’s lozenges] 
 
 Established 1851. 
 
 ilEEBECE BANK 
 
 Southampton Buildings, Chancery Lane, London. 
 
 TWO-AND-A-HALF per CENT. INTEREST allowed on DEPOSITS, repayable on 
 demand. 
 
 TWO per CENT, on CURRENT ACCOUNTS, on the minimum monthly balances, when 
 not drawn below £100. 
 
 STOCKS, SHARES, and ANNUITIES purchased and sold. 
 
 SAVINGS DEPARTMENT 
 
 For the encouragement of Thrift the Bank receives small sums on deposit, and allows 
 Interest monthly on each completed £ 1 . 
 
 BIRKBEOK BUILDING SOCIETY 
 
 HOW TO PURCHASE A HOUSE 
 
 FOR TWO GUINEA8 PER MONTH 
 
 BIRKBEOK FREEHOLD LAND SOCIETY 
 
 HOW TO PURCHASE A PLOT OF LAND 
 
 FOR FIVE SHILLINGS PEE MONTH. 
 
 The BIRKBEOK ALMANACK, with full particulars, post free. 
 
 FRANCIS RAVENSCROFT, Manager. 
 
16 
 
 THE ART ANNUAL ADVERTISER, 
 
 THE ANNUAL 
 
 Exhibition of 
 Oil Paintings 
 
 IS NOW OPEN 
 
 AT 
 
 THOMAS MlEAN'S 
 GALLERY, 
 
 7, HAYMARKET, LONDON. 
 
 Economy in the Kitchen. 
 
 You can make 16 Breakfast 
 Cups of Beef r l ea from a 
 3-oz. Jar of 
 
 LIEBIG COMPANY'S 
 EXTRACT 
 
 Costing* less titan a Benny 
 per Cup. 
 
 FOR BEEF TEA, 
 
 FOR K8TCHEM USE, 
 
 IT 
 
 goes a long way. 
 
 THE NEW 
 DRAWING PAPER 
 FOR ARTISTS. 
 
 O. W. 
 R. W. S. 
 
 the 
 
 NEW MEDIUM 
 FOR ARTISTS. 
 
 "With the Company’s Stamp on each Sheet. 
 
 These papers are of different Surface and Thicknesses in Imperial (30 by 22 inches), 6d. to 
 Is. 9d. per sheet ; Double Elephant (40$ by 27 inches), Is. to 3s. per sheet ; and a Smooth thin 
 paper (21 by 16$ inches) l'or ■* Black and White.” 
 
 SMOOTH, PINE CHAIN, MEDIUM AND ROUGH 
 
 CAN BE OBTAINED AT 
 
 MANUFACTURER 
 
 OF EVERY ARTICLE FOR 
 
 THE ARTIST IN WATER COLOURS. 
 
 THE ARTIST IN OIL COLOURS. 
 THE PHOTOGRAPHIC COLOURIST. 
 OP SUPERIOR QUALITY. 
 
 24 SOHO SQUARE, LONDON, W. 
 
 Catalogues and Circulars post free. 
 
 N ICW MAN’S FLAKE WHITE IN OIL 
 
 IS MORE BRILLIANTLY WHITE, WELL PREPARED, AND 
 LASTING THAN ANY OTHER. 
 
 ARTISTS’ WATER-COLOUR TABLETS. 
 
 Eob Geneeal Aetist Pubposes and “ Black and White.” 
 
 Stout Cardboard covered with the Best Quality of Drawing Paper of every Variety of Surface. 
 Whatman's, Newman’s Special N ” Creswick. Valley, and other papers. Special Cres- 
 wiek with “ N ” in Water Mark of each Sheet. Prepared Varley Paper, &c. 
 
 HOT PRESSED, FINE GRAIN, MEDIUM OR ROUGH. 
 
 Pbices and Sizes of Tablf.ts Kept in Stock: — 
 
 With Best Drawing Paper. With extra thick and more expensive papers. 
 
 10$ by 7$ inches 3s. dozen 5s. dozen. 
 
 14$ by 10$ „ 6s. „ ... 12s. „ 
 
 21 by 14$ „ 12s. ,, 18s. ., 
 
 29 by 21 „ 24s. „ 36s. „ 
 
 &c., &c. Other Sizes made to Order. [See Cikculaes. 
 
 24, SOHO SQUARE, LONDON, W. 
 
 
 THE Pr 
 
 Jr 
 
 % 
 
 
 
 
 
 zssflKissis 
 
 
 BRAND & Co.’s 
 
 MEAT 
 
 JUICE. 
 
 Prepared from the finest ENGLISH MEAT. 
 
 “This is a powerful, nourishing, and stimulating fluid, obtained from 
 prime beef by submitting it to pressure in the cold — a method of prepara- 
 tion which must he regarded as highly satisfactory, for, according to our 
 analysis, the valuable principles of the meat have not only been preserved 
 intact, hut the fresh, agreeable, and natural flavour of beef has also been 
 retained.” — Lancet, January 7th, 1893. 
 
 Supplied to Her Imperial Majesty the EMPRESS of RUSSIA. 
 CAUTI ON.— Beware of Imitations. Each genuine article 
 bears our Signature and address: — 
 
 11, LITTLE STANHOPE STREET, MAYFAIR, LONDON, W. 
 
 Price Lists of Invalid Preparations free on application. 
 
17 
 
 THE ART ANNUAL ADVERTISER. 
 
 ® GEO. ROWNEY & CO.'S 
 
 OIL and water colours 
 
 FINEST GROUND ) 
 
 MOST PERMANENT [ IN THE MARKET. 
 
 PUREST AND BRIGHTEST) 
 
 WAY BE OBTAINED FROM ALL ARTISTS’ COLOURMEM AND STATIONERS, OR DIRECT FROW THE MANUFACTURERS, 
 
 GEORGE ROWPIEY & CO., 64, OXFO RD STREET, LONDON, W. 
 
 ILLUSTRATED CATALOGUES FREE ON APPLICATION. 
 
 THE SUNBURY LINCRUSTA-W ALTON. WALL DECORATION 
 
 NOVELTIES for 1897— FILLINGS and CEILINGS at Is. per yard, 21 ins. wide. 
 
 CHEAP DECORATIONS, DELICATE COLOURINGS, supplied by every Decorator, 
 Furnisher, or Builder of standing in the United Kingdom. 
 
 bINCRUSTA=WAbTON, tested and triumphant, the King of Wall Hangings, is the only 
 Wall Decoration on the Market which is at the same time 
 SOLID in colour, SOLID in relief, and SOLID in value. 
 
 IV rite for Price List , Illustrations, 6? ’c., to 
 
 CURLtTOJNL & Co., Litd., Swle patentees & Hlamtfartimrs, 
 
 Telephone, 3769. 2 , N^WMftN STR^^T, OXFORD STRG^T, LONDON, W. “ Lincrusta-Walton, London.” 
 
 These Beautiful instru- 
 ments are offered at the 
 lowest prices consistent 
 with their high quali- 
 ties, ranging from 18 
 to 96 Guineas. 
 
 Liberal Discount for 
 Cash . 
 
 Illustrated Price Lists 
 sent post free to any 
 address. 
 
 Carriage Free. 
 
 Second-hand Piano- 
 fortes and instruments 
 returned from Hire at 
 reduced prices. 
 
 Old Pianofortes Ex- 
 changed. 
 
 Pianofortes Repaired. 
 Estimates free. 
 
 PORE & MOORE 
 
 IRON-FRAMED, TRICHORD 
 
 PIANOS 
 
 ARTISTIC AND DURABLE. 
 
 Established 1838. 
 
 NUMEROUS MEDALS AND AWARDS. 
 
 THE 
 
 THREE YEARS’ SYSTEM, 
 
 INVENTED BY 
 
 MOORE & MOORE 
 
 IN 1846. 
 
 After three years’ hir- 
 ing at rates varying from 
 31s. 6d. to£8 8s. perquar- 
 ter (10s. 6d. to 56s. per 
 month), the instrument 
 becomes the absolute 
 property of the hirer. 
 There are no added 
 charges of any kind. 
 The total amount paid 
 never exceeds the price 
 of the instrument. The 
 hirer is free at any time 
 to return the instru- 
 ment, or to acquire it in 
 less than three years, 
 with reduction. 
 
 The system will he 
 found fully described on 
 pages 2 and 3 of the 
 NEW ILLUSTRATED 
 PRICE LIST (post free), 
 including some impor- 
 tant fresh facilities just 
 introduced. 
 
 I00RE & I00RE, 101 & 105, Bisliopsgate-street Within, London, E.C. 0 t“) 
 
18 
 
 THE ART ANNUAL ADVERTISER. 
 
 Printers and Publishers 
 
 Seeking the very best work at the lowest possible 
 prices are invited to communicate with Messrs. 
 
 JOHN SWAIN St SON, 
 
 58, FARRINGDON STREET , LONDON, E.C. 
 
 Who are at all times pleased to give Quotations 
 for — 
 
 Rtnb of (ffirf (Reprobucfton. 
 
 CUSTOMERS MAY RELY UPON OUR 
 
 PUNCTUALITY . 
 
 ECONOMY , and 
 
 Q UALITY. 
 
 American Hand Engraving on ‘ Half-Tone ’ Blocks 
 a Speciality. 
 
 Colour Work. 
 
 We do a large business in reproducing facsimiles of 
 
 FINE ART PICTURES, 
 
 SHOW CARDS, OIL PAINTINGS, 
 
 and WATER-COLOUR DRAWINGS. 
 
 Telegraphic Address — “ Isochromatic ” London. Telephone Number — 6796. 
 
 VENICE & NIURANO 
 
 Glass Company, 
 
 30, ST. JAMES’ STREET, LONDON, S.W. 
 
 Have on view at their London Gallery a choice selection of 
 their unrivalled reproductions of ancient Venetian and Muranese 
 glass suitable for Table Use, Decorations, Cabinet Specimens, 
 and for Presents. 
 
 Venetian Glass Mosaic for Mural Decoration , Ecclesiastic & Domestic. 
 
 30, ST JAMES' STREET. LONDON, S.W. 
 
 Each purchaser of “The Art Journal’’ Volume for 1896, price 21s., can claim a 
 copy of the large Etching (about double the size of a page of “The Graphic ”) 
 of ‘ THE CONVALESCENT,” after L. ALMA TADEMA, R.A., on payment of an 
 additional 2s. to cover cost of packing and carriage, together with voucher 
 inserted in Volume. 
 
 PRESS OPINIONS ON LAST YEAR’S VOLUME. 
 
 “ The Art Journal of the year is a delightful volume, strong in all the forms of Art, and rich in matter for instruction and admiration.” — The Times. 
 
 “ In every respect, including artistic production and cultivated criticism, this, th the artistic periodicals, is worthy of its past, and can compete with 
 
 the similar productions of the Continent and America.” — Morning Post. 
 
 11 This year the volume fully sustains the high reputation it has so long enjoyed. As a permanent record of Art affairs during the year it has one value ; as a 
 collection of critical and histoiical articles upon Art and artists it has another.” — Yorkshire Post. 
 
 THE ART JOURNAL. 
 
 MONTHLY, S/8. 
 
 Each Monthly Part contains a Full-page Etching or Photogravure, a Full-page Plate printed in Tint, together 
 
 with numerous Illustrated Articles on the Art Topics of the day. 
 
 The Premium Plate for 1897 will be an Etching, in large size (20 inches base), of 4 AN IDYLL OF 1745,’ 
 
 BY 
 
 Sir J. E. MILLAIS, Bart., P.E.A., 
 
 a young English boy playing a flute to two pretty Scotch girls ; and subscribers for The Art Journal for 1897 may acquire this on 
 
 conditions set forth in the Monthly Numbers. 
 
 London : J. S. VIRTUE & CO., Ltd., 26, Ivy Lane, Paternoster Row, E.C. 
 
THE ART ANNUAL ADVERTISER. 
 
 19 
 
 SOLID ASH SHAVING STAND 
 with adjustable bevelled edge 
 glass, i drawer, and lower part 
 enclosed by panel door... 35s. 
 
 If with carved panel, 8 s. 6 d. extra. 
 
 0ET3MAET2T <Ss CO., 
 
 62 , 64 , 67 , 69 , 71 , 73 , 75 , 77 & 79 , 
 
 13T jSk TO Ok /near TOTTENHAM court road\ 
 
 AiL AA ArtMlJBa Jk JCmJEAMis^ w£iMa&& j If ■ \ AND GOWER street station. ) 
 
 61, Grafton Street, DUBLIN. 75, Union Street, RYDE. 
 
 Useful and decorative Jfovelties suitable for presents. 
 
 SPECIAL ILLUSTRATED PRICE LIST POST FREE. 
 
 STEFLIKG SILVER GOODS AT LITTLE MORE THAN THE PRICE OF BEST ELECTRO PLATE. 
 
 ILLUSTRATED CATALOGUE (754 pages and 3,000 Illustrations), THE BEST FURNISHING 
 
 GUIDE EXTANT, POST FREE. 
 
 HANDSOME INLAID: LOUIS XV. 
 TABLE, richly mounted with ormolu, 
 fitted with 2 drawers with locks and 
 key, and marble top with brass gallery 
 round ... £l 15 0 
 
 HANDSOME 
 LIQUEUR 
 playing cards, 
 and 2 keys 
 
 OAK AND ELECTRO SILVER-PLATED 
 FRAME, with 3 lull-cut bottles, 4 glasses, 
 receptacle for cigars and cigarettes, best lock 
 
 £4 10 0 
 
 HANDSOME WROUGHT IRON 
 AND COPPER TABLE LAMP, 
 with copper container, best duplex 
 burner, chimney and globe, com- 
 plete 15s. 9d. 
 
 USEFUL INLAID AND ORMOLU 
 MOUNTED LOUIS XV. OCCASION- 
 AL TABLE, with lift -up lid; can be 
 used as occasional or work table, 18s 9d. 
 
 ORMOLU MOUNTED MARBLE 
 TOP PEDESTALS, 2 ft. 9 in. 
 high 18s. 6 d. each 
 
 THE “ NELSON ” EASY CHAIR, well up- 
 holstered, with pillow seat, and covered with 
 
 cretonne £3 3 0 
 
 Ditto ditto in Tapestry ... £3 15 0 
 
 A lower quality of this Chair is made but 
 not recommended. 
 
 THE “NELSON” SETTEE, with very soft pillow seat, 
 
 and covered with Cretonne ... £5 18 6 
 
 Ditto ditto in Tapestry ... £7 7 0 
 
 A lower quality is made ’nit not recommended. 
 
 CARVED ANTIQUE OAK 
 SPINNING CHAIR 7s. 9d. 
 
 VERY HANDSOME INLAID SECRETAIRE 
 WRITING CABINET, witii chased ormolu mounts 
 and marble top, fitted with 4 useful drawers, the 
 upper portion, when flap is lowered, forms a writing' 
 slab, the interior being fitted with a number of 
 small drawers £7 15 0 
 
 CARVED ANTIQUE OAK DWARF BOOKCASE, lower 
 part enclosed by glass-panelled doors, and open Bookshelf 
 above finished with leather edging. 
 
 3 ft. wide, with one glass door ... ... ... £2 10 0 
 
 3 ft. 6 in. wide, with two doors ... £3 3.0 
 
 3 ft. wide, without glass door ... £1 17 *6 
 
 3 ft. 6 in. wide, without glass door £2 17 6 
 
 VERY HANDSOME LOUIS XV. SHAPED 
 CHINA CABINET, richly mounted with ormolu 
 and with marble top, fitted with 3 shelves, 2 ft. 
 3 in. wide by 4 ft. 7 in, high ... £4 10 0 
 
20 
 
 THE ART ANNUAL ADVERTISER. 
 
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