William Hogarth's 1735 engraving, "The Rake in Bedlam", depicts the final scene from *A Rake's Progress*, showing the protagonist in a mental asylum. The print serves as a satirical commentary on the consequences of moral and financial excess in 18th-century London.

William Hogarth's "The Rake in Bedlam" (1735) is the eighth and final print in the series *A Rake's Progress*. It depicts Tom Rakewell, the protagonist, in Bedlam, a notorious London mental asylum. This engraving captures the culmination of Rakewell's descent into madness and ruin, a consequence of his profligate lifestyle and moral failings. The scene is filled with a cast of characters, each representing different forms of mental derangement. Rakewell is shown in the centre, naked and manacled, surrounded by doctors, concerned women, and fellow inmates exhibiting various eccentric behaviours. The composition is carefully arranged to convey a sense of chaos and confinement. The architecture of Bedlam, with its barred windows and stark walls, reinforces the theme of imprisonment, both physical and mental. Hogarth uses detailed line work to render the expressions and gestures of the figures, conveying a range of emotions from despair to delusion. The print is a commentary on the social and moral decay of 18th-century London, offering a cautionary tale about the dangers of vice and excess. Hogarth's work provides insight into the attitudes towards mental illness during this period.

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