Before his introduction to Charles Dickens in 1836, the versatile artist had adorned several volumes, which, but for his striking illustrations, would probably have enjoyed but a brief popularity. His etchings and drawings on wood are invariably executed in an exceedingly delicate manner, at the same time preserving a breadth of effect unequalled by any _aquafortiste_ of his day. "Only those who know the difficulties of etching," observes Mr. P. G. Hamerton, "can appreciate the power that lies behind his unpretending skill; there is never, in his most admirable plates, the trace of a vain effort." * * * * * [Sidenote: =Sketches by Boz, 1833-36.=] Dickens's clever descriptions of "every-day life and every-day people" were originally printed in the _Monthly Magazine_, the _Evening Chronicle_ and the _Morning Chronicle_, _Bell's Life in London_, and "The Library of Fiction," and subsequently appeared in a collected form under the general title of "Sketches by Boz." Early in 1836 Dickens sold the entire copyright of the "Sketches" to John Macrone, of St. James's Square, who published a selection therefrom in two duodecimo volumes, with illustrations by George Cruikshank. It was at this time that Charles Dickens first met the artist, who was his senior by about a score of years, and already in the enjoyment of an established reputation as a book-illustrator. That the youthful author, as well as his publisher, realised the value of Cruikshank's co-operation is manifested in the Preface to the "Sketches," where Dickens, after appropriately comparing the issue of his first book to the launching of a pilot balloon, observes: "Unlike the generality of pilot balloons which carry no car, in this one it is very possible for a man to embark, not only himself, but all his hopes of future fame, and all his chances of future success. Entertaining no inconsiderable feeling of trepidation at the idea of making so perilous a voyage in so frail a machine, alone and unaccompanied, the author was naturally desirous to secure the assistance and companionship of some well-known individual, who had frequently contributed to the success, though his well-known reputation rendered it impossible for him ever to have shared the hazard, of similar undertakings. To whom, as possessing this requisite in an eminent degree, could he apply but to George Cruikshank? The application was readily heard and at once acceded to; this is their first voyage in company, but it may not be the last." Each of the two volumes contains eight illustrations, and it may justly be said of these little vignettes that they are among the artist's most successful efforts with the needle. Although highly popular from the beginning, the "Sketches" were now received with even greater fervour, and several editions were speedily called for. As the late Mr. G. A. Sala contended, the coadjutorship of so experienced a draughtsman as George Cruikshank, who