A Rake's Progress, Plate 7

A Rake’s Progress, Plate 7 by William Hogarth, published in 1735, is the penultimate image in the artist's highly influential narrative series chronicling the complete downward spiral of the fictional heir, Tom Rakewell. This print is executed using the demanding combination of etching and engraving techniques, existing here as the fourth and final state. Hogarth’s work served not only as fine art but also as a powerful form of moral satire intended for a wide public audience in 18th-century London, establishing a genre unique to English art.

The scene plunges the viewer into the desperate squalor of the Fleet Debtors' Prison, where Rakewell has finally been confined, stripped of his last fortune. The composition is dense with poignant human drama, illustrating the harsh economic realities faced by those imprisoned for debt. Among the desperate throng are various figures: men arguing over their ledgers, distraught women pleading for their partners’ release, and young boys and girls- the children of the incarcerated- experiencing their parents’ social disgrace. Rakewell is shown being tormented by a pawnbroker and a tailor demanding payment, while his only source of true aid, the loyal Sarah Young, attempts vainly to offer comfort.

As a definitive example of early Georgian narrative art, this influential series of prints remains crucial for understanding social commentary of the era. This specific impression is held in the extensive collection of the Metropolitan Museum of Art. Although the original copper plates are highly protected, the enduring cultural importance of Hogarth's original works ensures that high-quality prints and reproductions are frequently made available through public domain initiatives, allowing global access to the moral history embedded in A Rake’s Progress.