Hadfield’s squirrel drawing reveals intimate fragment of would‑be regicide at Bethlem

A previously unshown early 19th‑century drawing and verse by James Hadfield — the man who tried to shoot King George III — will be displayed at Bethlem Museum of the Mind in a new show that pairs patient-made objects with clinical and artistic responses to sleep, dreams and mental distress.

An early 19th-century drawing and accompanying verse by James Hadfield — the man who tried to shoot King George III — will be displayed for the first time at Bethlem Museum of the Mind in London as part of a new exhibition exploring sleep, dreams and mental health. The illustrated manuscript, titled Epitaph, Of My Poor Jack, Squirrel, is one of several small works produced by Hadfield during his long confinement at the hospital and represents an intimate, unexpected fragment of a notorious life.

The sheet on show is one of three versions the museum holds and, according to the museum’s catalogue entry, has not previously been exhibited. The handwriting and sketch combine a short ode to a pet squirrel with a small illustrated vignette; the text on this version records that “Jack” died after an accidental fall caused by being startled by a cat. Museum records and a recent museum blog post set the piece alongside other patient-made material and note that visitors in Hadfield’s day often bought copies of his epitaphs.

Hadfield’s story sits uneasily between criminal history and the history of psychiatry. In 1800 he fired at King George III at the Theatre Royal, Drury Lane, but missed; he was arrested immediately. Contemporary and later accounts describe Hadfield as a veteran who suffered severe head wounds and developed religiously tinged delusions, convinced that he must sacrifice himself to precipitate the Second Coming. His defence at trial argued that he was “incurably insane” and therefore not legally responsible for the act.

The legal aftershocks were swift. Parliament moved quickly to address the handling of defendants found to be insane, passing measures to provide for their indefinite detention — a legislative response that has been widely discussed by historians as originating in the aftermath of Hadfield’s case. Hadfield himself spent the remainder of his life in Bethlem; museum material and archival notes record that he lived for decades in a locked cell but was permitted small comforts, including keeping pets, and attracted visitors who purchased copies of his writings. He died in 1841 after some 41 years in the hospital.

The squirrel drawing appears within Between Sleeping and Waking: Hospital Dreams and Visions, a temporary exhibition that will run from 14 August to 22 November 2025. According to the museum’s announcement, the show brings together historical material from Bethlem’s long archive and contemporary works to examine the full spectrum of dreams identified by sleep researchers. The exhibition includes works by Charlotte Johnson Wahl and the dream diaries of psychiatrist Dr Edward Hare, and — as the museum emphasises — aims to open up fresh perspectives by placing patient-made objects alongside clinical and artistic responses to dreaming. Colin Gale, director of Bethlem Museum of the Mind, said in comments accompanying the exhibition announcement that the display “has opened up exciting perspectives on artworks, many of which have been in storage for years.” Admission is free and the museum is offering a range of digital resources, including a 360° tour, as part of its public programme.

Seen together, the squirrel epitaph and the other items in the exhibition underline how objects created inside institutions can complicate simple narratives of madness and criminality. Museum curators and recent commentators argue that such pieces invite reflection on how mental distress, legal judgment and personal creativity have intersected through time — and how archival fragments once dismissed as curiosities can be reinterpreted as documents of inner life. According to contemporary reporting and the museum’s own materials, the Hadfield drawing is modest in scale but rich in the paradoxes of its provenance: a souvenir of violent political theatre that ended up as a domestic elegy in the wards of the world’s oldest psychiatric hospital.

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Source: Noah Wire Services

Noah Fact Check Pro

The draft above was created using the information available at the time the story first
emerged. We’ve since applied our fact-checking process to the final narrative, based on the criteria listed
below. The results are intended to help you assess the credibility of the piece and highlight any areas that may
warrant further investigation.

Freshness check

Score:
9

Notes:
The narrative is fresh, with the earliest known publication date being August 12, 2025. The report originates from The Irish News, a reputable source. The content is original, with no evidence of recycled news or republished material. The narrative is based on a press release from Bethlem Museum of the Mind, which typically warrants a high freshness score. The report includes updated information about the exhibition, justifying a higher freshness score. No discrepancies in figures, dates, or quotes were found. The narrative has not appeared more than 7 days earlier. The inclusion of updated data alongside older material is noted, but the update justifies a higher freshness score.

Quotes check

Score:
10

Notes:
The direct quotes from Colin Gale, director of Bethlem Museum of the Mind, are unique to this report. No identical quotes appear in earlier material, indicating potentially original or exclusive content. No variations in quote wording were found.

Source reliability

Score:
10

Notes:
The narrative originates from The Irish News, a reputable organisation. The report is based on a press release from Bethlem Museum of the Mind, a legitimate institution. All individuals and organisations mentioned in the report can be verified online, confirming their authenticity.

Plausability check

Score:
10

Notes:
The time-sensitive claim about the exhibition dates (August 14 to November 22, 2025) is verifiable against recent online information. The narrative makes a surprising and impactful claim about the display of James Hadfield’s drawing, which is covered elsewhere, including the museum’s official blog. The report includes supporting details from reputable outlets, such as The Irish News and the museum’s blog. The report includes specific factual anchors, including names, institutions, and dates. The language and tone are consistent with the region and topic, with no strange phrasing or incorrect spelling variants. The structure is focused and relevant, with no excessive or off-topic detail. The tone is appropriately formal and resembles typical corporate or official language.

Overall assessment

Verdict (FAIL, OPEN, PASS): PASS

Confidence (LOW, MEDIUM, HIGH): HIGH

Summary:
The narrative is fresh, original, and originates from a reputable source. All claims are plausible and supported by verifiable information. No signs of disinformation or credibility issues were found.