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1967-566,3, Print
A Rake's Progress, Plate 3
1967-566,3, Print

A Rake's Progress, Plate 3

Date1735
Designed and engraved by William Hogarth (1697 - 1764)
OriginEngland, London
MediumEtching and line engraving on laid paper
DimensionsOverall: 17 3/4 × 23in. (45.1 × 58.4cm)
Credit LineMuseum Purchase
Object number1967-566,3
DescriptionLower margin reads: "O Vanity of Youthfull Blood,/ So by Misuse to poison Good!/ Woman, form'd for Social Love,/ Fairest Gift of Powers above!/ Source of every Houshold Blessing,/ All charms in Innocence possessing:? But turn'd to Vice, all Plagues above,/ Foe to my Being, Foe to Love!/ Guest Divine to outward Viewing,/ Abler Minister of Ruin!/ And Thou, no less of Gift divine,/ Sweet Poison of Misused Wine!/ With Freedom led to every Part,/ And secret Chamber of y.e Heart;/ Dost Thou thy friendly host betray,/ And Shew thy riotous Gang y.e way,/ To enter in with covert Treason,/ O'erthrow the drowsy Gaurd of Reason,/ To ransack the abandon'd Place,/ And revel there with wild Excess?/ Invented, Painted, Engrav'd & Publish'd by W.m Hogarth June y.e 24. 1725. According to Act of Parliament. ---/ Plate 3."
Label TextThis is the third scene of one of William Hogarth's most popular "Modern Moral Subjects”: " A Rake's Progress." With the popularity of 'A Harlot's Progress,' he commenced selling subscriptions in late 1733, but the prints were not completed until June, 1735. Part of this delay was the passage of the Engraver's Act, which was designed to prevent pirating of engraver's works. Hogarth waited until the act took effect on June 25th, 1735 - the date engraved on the prints - to publish the series. Despite his careful planning, pirated copies appeared on the market in early June apparently based on Hogarth's original paintings for the set, now in the collection of Sir John Soane's Museum. (For an authorized copy of this plate see 2014-223,3 by Henry Paker [1768]).

In the third scene of A Rake's Progress depicts Tom Rakwell's descent into debauchery and excess as he spends away his fortune on gaming, alcohol, and women. The scene apparently depicts The Rose Tavern (based on the engraving on the large platter being carried into the room which reads “John Bovine at the Rose Tavern Drury Lane." The Rose Tavern stood north of Russell Street on the west side and was a popular spot for theatergoers, artists, writers, and gentleman in 17th and 18th century London. Rakewell, intoxicated and dazed, hasn't noticed that the harlot behind him has stolen his watch, which is marked three (in the morning). In his drunken state, he has engaged in an altercation with a watchman as evidenced by the battered watchman's lantern and staff at his feet which bears the arms of the City of London. Along the wall are the prints of the Caesars of Rome - all of their faces have been torn out except for that of Nero’s. One of the harlots, sets a map afire, which reads "Totus Mundus”: whole world. The entire room is in disarray: everything is broken, disordered, and undone.

This is state four of the print. Though printed from Hogarth's original copperplate (with some strengthening), this print is part of the Boydell edition published after 1790. Hogarth's copperplates were re-used after his death by his widow, Jane until her death in 1789. They were sold to the print publishers John and Josiah Boydell who published until the Boydell sale in 1818. In 1822, James Heath was in possession of the plates and published at least four bound editions of the plates. For more, see Ronald Paulson, Hogarth's Graphic Works, Third Revised Edition (London: Print Room, 1989), pp. 20-21.

For more of the set see 1967-556, 2-8.