Martin’s drawings were much collected as souvenirs by visitors to Bethlem, as they had been while he was in York Gaol awaiting his trial for arson. It is possible that this sheet, with its unconnected subjects, was produced more with an eye to the tourist trade than from the compulsive need to communicate his deep personal convictions which marks drawings such as Hell’s Gates and London’s Overthrow. At the top left is a portrait of Her Majesty the Queen of England the Consort of His Majesty King William the fourth of Great Britain and Ireland, taken from an engraving. Next is the one-legged lion which appears in many of his drawings and symbolises, as he explains elsewhere, England’s vulnerability. It may also be a personal emblem. In the centre is William Wallace, identified by the poem about him written below: ‘Wallace bled by a cowardly band/ My blood cries vengeance thro’ the land…’ which ends with the words ‘my own composing’. On the right, as the text explains, is The likeness of my Father, as well as I can remember Being dead upwards of sixteen years. This likeness will suffice for myself as well as my Father: although it is rather ancient and bald-headed: being exactly similar in person…. As he goes on to reveal, he has actually drawn a self-portrait, using a glass that magnified as he did for the one in The Lambton Worm, and presumably ageing the face to make it into his father. (Judging by other portraits of Martin, his own are good likenesses.)