The Library of Fiction, 1836.Coincident with the publication of the first monthly number of "The Pickwick Papers," there appeared the initial part of a new serial called "The Library of Fiction," which, under the editorship of Charles Whitehead, was launched by the same publishers. Whitehead, whose name has already been mentioned in connection with "Pickwick," became acquainted with Dickens at the time the latter was writing "Sketches by Boz," which he so much admired that he endeavoured to persuade the young author to contribute something of a similarly striking character to the projected "Library of Fiction." Dickens consented, and we find that his amusing little story, entitled "The Tuggses at Ramsgate," constitutes the opening paper. Several of the articles and tales in "The Library of Fiction" were illustrated, and it is interesting to note that Dickens's contribution to the first part was embellished with two designs by Robert Seymour, engraved on wood by Landells. It is generally considered that Seymour's woodcut illustrations are by far the best specimens of his talent, and the engravers of that day were exceedingly happy in reproducing the delicacy of touch and brilliancy of effect which distinguished the drawings made by him direct upon the blocks.
Seymour's first design represents the Tuggs family and their friends, Mr. and Mrs. Captain Waters, on the sands by the seaside, and it is interesting to learn that the fat man seated on a chair in front is said to be a portrait of the artist, as he appeared during the latter part of his life. The second illustration, depicting the incident of the irate Captain Waters discovering Mr. Cymon Tuggs behind the curtain, also formed the subject of George Cruikshank's etching for the little story when it was reprinted in the first edition of "Sketches by Boz," published about some three years later, and, in comparing the separate designs, we find that they are almost identical, except that the two prominent figures in the etching are in reverse of those in the woodcut.
FOOTNOTES:
[7] In another account (written by a contemporary of the artist) it is stated that Seymour was the natural son of Vaughan himself, and that the child bore the name of the mother, under whose care he remained until his father acknowledged the paternity, when he took the boy into his workshop.
[8] The artist's son asserts that the last plate Seymour etched for "Pickwick" (viz., "The Dying Clown") was submitted to Dickens a fortnight (not forty-eight hours, as recorded by Forster) before his death. It seems that Seymour's final drawing was for a woodcut, executed for John Jackson, the engraver, to whom the artist delivered it on the evening of the fatal day, April 20, 1836.
[9] R. W. Buss, the successor of Seymour as illustrator of "Pickwick," records that ten shillings was the price accorded to the artist for each plate.
[10] In 1889 Mrs. Seymour's own copy of this exceedingly scarce pamphlet (of which only three copies are known to exist) was purchased by Mr. Daly for £74 at Sotheby's. It contains a few slight corrections by Mrs. Seymour.
[11] The unpublished sketch by Seymour in Mr. Daly's collection, depicting the Pickwickians in Mr. Wardle's kitchen, illustrates a scene described on page 50, so that Dickens's memory was slightly at fault.
[12] This letter was first published in the Introduction, by the late Mr. Charles Dickens the Younger, to Macmillan & Co.'s edition of "The Pickwick Papers," 1892.