A Rake's Progress, Plate 8

A Rake's Progress, Plate 8 by William Hogarth is the final, devastating chapter in the artist’s seminal eight-part moral sequence, realized through the exacting technique of etching and engraving. Dated between its initial publication in 1735 and its third, retouched state in 1763, this powerful print serves as the culmination of the protagonist Tom Rakewell’s catastrophic financial and moral decline.

The scene is set within the notorious interiors of Bethlem Hospital, commonly known as Bedlam, the historical asylum for the insane. Hogarth captures the chaotic, dehumanizing environment by filling the space with various figures representing the spectrum of mental illness in 18th-century society. We see men and women in states of profound distress, their delusions often referencing their former lives or societal roles.

Hogarth meticulously integrates symbolic details that amplify the tragedy. In the background, one figure attempts futilely to play a violin, symbolizing the discord and failure of civilized pursuits. Rakewell himself is depicted in a state of violent madness, attended only by his former mistress, who remains faithful even as he is reduced to despair. The composition highlights the institutional decay: a figure is seen etching a cross onto the wall in delusional religious fervor, while a dog scavenges in the foreground, emphasizing the degradation of the environment.

As a significant example of English satirical prints, this work demonstrates Hogarth’s unparalleled skill in narrative engraving. The piece is housed in the collection of the Metropolitan Museum of Art and remains a definitive record of the era, frequently reproduced and studied today, solidifying its place among the most enduring public domain works of the Georgian period.