This is the last plate in the series (the first was featured in the March issue of the Journal). The lengthy caption details the family misfortunes that have led to the daughter's suicide. The picture is a dramatic one and is considered by many to be one of Cruikshank's finest images. From this series and its predecessor, Cruikshank's philosophy is clear. He advocated total abstinence as he felt that any exposure to alcohol could ultimately lead to social disgrace and tragedy. His friend Charles Dickens disagreed and held that alcoholism grew out of misery and poverty rather than being the cause of it. Dickens advocated moderation in drinking, rather than complete abstinence. The two friends were to fall out over their conflicting views on drinking. Cruikshank continued to campaign for abstinence and went on to produce a vast oil painting entitled The Worship of Bacchus, to be featured in the May issue of the Journal. Thanks to Dr Bruce Ritson.

The Drunkard's Children. A Sequel to The Bottle, Plate VIII. The maniac father and the convict brother are gone – the poor girl, homeless, friendless, deserted, destitute and gin-mad, commits self murder (1848). George Cruikshank (1792–1878)