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The first plate in the series depicts a prosperous family- consisting of a husband and wife and three children- enjoying a meal at home. The husband holds in his hands a bottle of liquor and a glass, and, according to the caption, invites his wife "just to take a drop". The room in which the first
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The changes to the objects on the mantle over the sequence are one indicator of the family's misfortune. In the second plate, the figurine of a man has tipped over, and in the third, the figurines of the man and woman have been replaced by a tankard. By the sixth plate, all that remains over the
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Many observers have commented on the significance of the setting of the plates. Most are set in the same room (and even the asylum in the final plate echoes the layout of this room), though it radically transforms over time, in a way that mirrors the degradation of its inhabitants. In the first
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In the second plate, we are told the husband has lost his job, and the family must pawn their clothing to pay for alcohol. In plate 3, most of their furniture is seized to repay their debts. In plate 4, the family is reduced to begging for money on the streets, and by plate 5 we learn that the
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The final scene, set some years later, shows the husband, now "a hopeless maniac", being visited in a mad-house by his surviving son and daughter. The caption says the son and daughter have been "brought... to vice and to the streets", which is further reinforced by their gaudy appearance.
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Further symbolism is found in the room's door. In the first plate, it is secured shut with a prominently displayed lock. In the third plate, the door hangs open, exposing the room to the outside world, and in the fifth plate the door's lock plate is missing, replaced by a simple latch.
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plate, the room is richly furnished with objects indicative of the family's security and respectability, including a painting of a church, an open cupboard stocked with china, a well-fed cat, and a number of figurines over the mantle.
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being among his best remembered work today. Beginning around 1845, Cruikshank entered into the final "temperance phase" of his career, lasting until his death in 1878. During this period, his work evinced an ardent support for the
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drawing is set is also the setting for most of the following plates, though the scene degrades by the gradual disappearance of the furnishings and decorations that lend the initial plate its aura of coziness and respectability.
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Detail from the first of eight plates. A husband holds the titular bottle of liquor, offering his wife a drink. In the following plates, their drinking rapidly leads to poverty, madness, and death.
225:(8) The bottle has done its work. It has destroyed the infant and the mother, it has brought the son and the daughter to vice and to the streets, and has left the father a hopeless maniac.
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A bottle of liquor appears as a recurring visual motif in every plate up to the seventh, in which it appears in pieces on the floor, having been used by the husband as a murder weapon.
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In plate 6, the husband strikes his wife, to the distress of their children. In plate 7, the wife lies dead, apparently killed by the husband with a liquor bottle.
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slides, and a variety of other merchandise. Cruikshank did not control the copyright for the drawings, which allowed imitations and derivative works to flourish.
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George
Cruikshank began his career around 1809 as a caricaturist and graphic satirist, later focusing on book illustration, with his illustrations of works by
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was very popular, selling 100,000 copies within days of its first printing, and was adapted into several plays and a novel. It was followed by a sequel,
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was very popular, and has been described as possibly the greatest success of
Cruikshank's career. The initial printing of 100,000 copies of
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177:(4) Unable to obtain employment, they are driven by poverty into the streets to beg, and by this means they still supply the bottle.
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A small crack appears in the wall in the third plate, which widens in later scenes, exposing the building's inner structure.
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From an 1884 lithograph by M. Marques. The family's clothing and hairstyles have been updated to suit the times.
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213:(7) The husband, in a state of furious drunkenness, kills his wife with the instrument of all their misery.
165:(3) An execution sweeps off the greater part of their furniture. They comfort themselves with the bottle.
201:(6) Fearful quarrels and brutal violence are the natural consequences of the frequent use of the bottle.
153:(2) He is discharged from his employment for drunkenness: They pawn their clothes to supply the bottle.
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141:(1) The bottle is brought out for the first time. The husband induces his wife 'Just to take a drop.'
516:"Plate 5, "The Bottle. In Eight Plates" — George Cruikshank's cautionary Hogarthian progress (1847)"
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488:"Plate 1, "The Bottle. In Eight Plates" — George Cruikshank's cautionary Hogarthian progress (1847)"
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662:(a drama in two acts; founded upon the graphic illustrations of George Cruikshank) by T.P. Taylor
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189:(5) Cold, misery and want destroy their youngest child: They console themselves with the bottle.
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published in 1847. The etchings depict a family brought to ruin by alcohol. It was inspired by
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apparently sold out within a few days. It was cheaply produced using the technique of
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319:(1848). The copies are signed "Pilliner", and no credit was given to Cruikshank.
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referring to the seizure of goods from a person in debt by a sheriff's officer.
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Cruikshank had been a heavy drinker during his life, and his father,
430:"A Chapter of Noses: George Cruikshank's Psychonography of the Nose"
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565:. Universidade de Lisboa. Centro de Estudos Anglísticos (CEAUL).
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was dramatised around eight times, including a dramatisation by
588:"The Drunkard's Progress: Nineteenth-Century Temperance Drama"
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family's youngest child has died of "cold, misery, and want".
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270:. Finer reproductions were also sold for 6s and 2s 6d.
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Detail from
Cruikshank's original third plate (1847).
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59:(1848), consisting of another eight plates.
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391:"Cruikshank and Early Victorian Caricature"
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514:Allingham, Philip V. (9 August 2017).
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349:This is a now-dated sense of the word
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240:fireplace is a bottle and a glass.
551:"George Cruikshank and his bottle"
462:Mellby, Julie L. (13 April 2011).
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624:. University of Virginia
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35:by British caricaturist
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95:at the time he created
82:The Drunkard's Children
57:The Drunkard's Children
691:Works about alcoholism
130:with original captions
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681:19th-century etchings
389:James, Louis (1978).
31:is a series of eight
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595:The Dalhousie Review
686:Temperance movement
407:10.1093/hwj/6.1.107
313:Timothy Shay Arthur
80:and its successor,
74:temperance movement
608:Railton, Stephen.
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628:19 November
103:Description
675:Categories
660:The Bottle
648:The Bottle
612:The Bottle
527:1 December
499:1 December
361:References
278:Tom Taylor
274:The Bottle
260:The Bottle
256:The Bottle
128:The Bottle
97:The Bottle
93:teetotaler
78:The Bottle
63:Background
53:The Bottle
28:The Bottle
434:Criticism
351:execution
618:, 1848)"
446:23099570
268:shilling
231:Analysis
33:etchings
415:4288194
614:(from
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251:Impact
591:(PDF)
563:(PDF)
554:(PDF)
442:JSTOR
411:JSTOR
337:Notes
630:2021
567:ISBN
529:2021
501:2021
43:'s'
403:doi
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