The "penny gates" refer, no doubt, to the custom of allowing Bethlem to be one of the sights of the metropolis, the admission of any one being allowed for a penny, by which an annual income of at least £400 was realized. The practice was discontinued in 1770. This amount is, however, probably exaggerated, as it is difficult to believe that 96,000 persons visited the hospital in the course of the year. Ned Ward, however, from whom I shall shortly quote, says the fee was 2d. in his time. If so, 48,000 may be about correct. In the "Rake's Progress," Hogarth represents two fashionable ladies visiting this hospital as a show-place, while the poor Rake is being fettered by a keeper. The doctor, I suppose, is standing by. The deserted woman who has followed him in his downward course to the hospital is by his side. The expression of the Rake has been said to be a perfect representation of "Moody madness laughing wild, amid severest woe." A maniac lying on straw in one of the cells is a conspicuous figure. There is a chain clearly visible. In another cell is a man who believes himself a king, and wears a crown of straw. An astronomer has made himself a roll of paper for a telescope, and imagines that he is looking at the heavens. The patient near him has drawn on the wall the firing off a bomb, and a ship moored in the distance. Ireland, in his notes on "Hogarth," says it was to ridicule Whiston's project for the discovery of the longitude, which then attracted attention, and had sent some people crazy. Then there is a mad musician with his music-book on his head; a sham pope; and a poor man on the stairs "crazed with care, and crossed by hopeless love," who has chalked "Charming Betty Careless" upon the wall. One figure looks like a woman, holding a tape in her hands, but is intended for a tailor.[83] There is in Mr. Gardner's collection a print representing the interior of one of the wards of Bethlem about the year 1745, when the hospital, therefore, was in Moorfields. There are manacles on the arms of a patient who is lying on the floor, but there are none on the legs, as represented in Hogarth. With this interior, kindly placed at my disposal by Mr. Gardner, the reader can compare an interior of the existing institution, from a photograph, for the use of which I am indebted to the present medical superintendent, Dr. Savage. The artist of the former picture has evidently aimed at giving as pleasant an impression as possible of the care bestowed on the inmates of Bethlem, but the contrast is an interesting commentary on the past and present appearance of an asylum gallery. [Illustration: WARD IN BETHLEM HOSPITAL ABOUT 1745. _Print in Mr. Gardner's collection._] [_Page 74._] [Illustration: WARD IN BETHLEM HOSPITAL AT THE PRESENT DAY. _From a Photograph._] [_Page 74._] In a poem bearing the title of "Bedlam," and dated 1776, the writer, after bestowing praise on the building, adds:--