Plate VI from *The Drunkard's Children*

George Cruikshank's coloured etching — one of eight plates in his temperance sequel to his earlier *The Bottle* series — shows a prison visiting room: a young man, sentenced to transportation for life, sits slumped on a bench beside his weeping sister, who has been acquitted of participating in the robbery. A warder lingers in the doorway. The figures are rendered with Cruikshank's characteristic sharp line and selective wash colouring, the class markings legible in every costume detail. The series belongs to the moralising pictorial-narrative tradition Hogarth established with *Industry and Idleness* (1747) — sequential images that tell a causally structured story across numbered plates — a formal engine that fed directly into the Victorian illustrated penny press and, eventually, the comic strip. Cruikshank's working-class characters carry the physiognomic coding of mid-century social illustration: sunken features read as degradation, a visual shorthand his era accepted as empirical fact.