In this conclusion to the biography of the caricaturist and illustrator, George Cruikshank, the second half of his career is examined. This book is a look at Cruikshank's cooperation with some of the writers who are known as remakers of British fiction, particularly Harrison Ainsworth, Charles Dickens and William Makepeace Thackeray. The book also takes a look at Cruikshank's illustrated periodicals, especially "The Comic Almernack", which precedes "Punch", and which contains a record of 30 years of London life, in hundreds of the artist's etchings. Beginning in 1847, Cruikshank became a leading advocate of temperance, producing two series of prints, a gigantic oil painting, and other forms of propaganda. The author provides an account of Cruikshank's many friendships and contextualizes his art, showing how the subjects, mediums, treatments, publishers and audiences affected the artist's productions. There is coverage of Charles Dickens's very public quarrel with Cruikshank, which ended 20 years of friendship. The artist's friendship with John Ruskin, who became, for a time, Cruikshank's patron and champion, is also discussed. Cruikshank's later years were not successful either artistically or financially. He was troubled by an economic crisis, inadequate commissions, and the upkeep of two households - one with his wife and the other with his mistress and ten children. This volume of the biography focuses on the changing image of the artist, as he refashioned himself and was refashioned by others to suit or offend Victorian sensibilities. The intertwining of charity and art, Temperance and propaganda, children's imagination and adult's criticism, Scots heritage and English property, complicated and confused Cruikshank's declining years.