A Rake's Progress, Plate 8

A Rake’s Progress, Plate 8, created by William Hogarth in 1735, is the concluding and most tragic print in his famed narrative sequence detailing the decline of the fictional protagonist, Tom Rakewell. This major work of 18th-century British graphic art was executed using the sophisticated technique of etching and engraving, characteristic of Hogarth’s highly detailed prints, and is preserved here in the second state of three. As a master of the modern moral subject, Hogarth utilized these widely circulated prints to disseminate cautionary tales and social commentary across the public domain.

The final installment depicts Rakewell confined in Bedlam, London’s notorious hospital for the insane, having lost his wealth, freedom, and sanity. The chaotic scene is populated by various men and women suffering from different forms of mental anguish, often brought on by societal pressures or moral failure. One figure is shown in a state of delusion, attempting to 'play' a violin bow as if it were a flute, illustrating the complete dissolution of rational order. Rakewell is surrounded by figures who represent the lowest strata of society, emphasized by the presence of a small dog among the mad inmates. Only Sarah Young, the woman he originally promised marriage to, remains loyal, attempting to comfort him.

This powerful conclusion to the eight-part series illustrates the societal consequences of moral laxity and irresponsible consumption, making the sequence a seminal text in Georgian-era visual culture. This important historical example of satirical narrative resides in the extensive collection of the Metropolitan Museum of Art. The continued popularity of Hogarth’s social critiques ensures that reproductions of works like A Rake's Progress, Plate 8 remain accessible to scholars worldwide.