"Mr. Urban,
"Throughout Mr. Nichols's excellent but unequal account of Hogarth and his works, there is no decision I am so much inclined to controvert, as that respecting the first of the two plates to Milton. Perhaps the critic had only seen some imperfect copy of the Pandæmonium, or formed his idea of it on the vague description of those who who had considered it with less attention than it really deserves. In my opinion, our artist's arrangement of the infernal senate affords a happy instance of his power to exhibit scenes of picturesque sublimity. The ample space within the arcade, containing myriads of subordinate spirits; the vault above, illuminated by supernatural fires; the magnificence and elevation of Satan's throne; his superior stature, and the characteristic symbols over the seats of his peers; are circumstances entitled to a more flattering reception than they have met with. That this print has likewise absurdities, I am ready to allow: yet a Voltaire might ask whether most of them are not inseparable from its subject. I wish, for the sake of those who acknowledge the genius of Hogarth only in familiar combinations, that the plate in question were less rare. Our connoisseurs in general might then decide on its merits. The only known impression of it, as well as of its companion, is in the collection of Mr. Walpole,[A] who once indulged me with a sight of them both.
"I am content, however, that the second of these plates should be abandoned to the austerities of criticism. The architecture in the skies is every way unsuitable to its place. The characters of the Almighty and our Redeemer have little, if any, discrimination of attributes or years. They appear swinging on a festoon composed of tiny cherubs, clustered together like a swarm of bees. The Father rests his arm on one of these childish satellites; and the Son holds another by the wing, like Domitian catching a fly. Beneath, is a concert of angels, who perform on different instruments, and among others (as Mr. Nichols's book expresses it) on a clumsy organ. Lucifer, approaching the new-created world, appears but as an insect, flying towards an apple. This part of Hogarth's subject is beyond the compass of any design on a contracted scale. Satan might be delineated in the act of alighting on a promontory, a part of the earth; but when its complete orb is exhibited on a slip of paper measuring about six inches by four, the enterprizing fiend must be reduced to very insignificant dimensions. Such a circumstance may therefore succeed in a poet's comprehensive description, but will fail on any plate designed for the ornament of a little volume.
"Let me add, that these two are the neatest and most finished of all the engravings by Hogarth. The second might have been mistaken for one of the smaller works of Picart. Perhaps the high price demanded for the plates, was the reason why a series of them was not continued through the other books of Paradise Lost."
[A] These two plates are also in the collection of Mr. Steevens.
[2] These are in the collection of the Earl of Exeter, and are said to have the name of our artist fallaciously affixed to them. I speak, however, with uncertainty.
19. A coat of arms from a large silver tea table. Under these arms are a shepherd and his flock, exactly the same as those on the tankard, N° [25]. A shepherd and shepherdess also are the supporters. This has been ascribed to Hogarth, but I suspect it to be a copy, and am told indeed that it was engraved by Pelitreau.
20. Impression from a coat of arms engraved on a silver dish made by Delemery; purchased, at some distance of time, by Sir Gregory Page, Bart. who erased the original arms from the escutcheon, and had his own put in. The dish was afterwards bought at Christie's at a sale of Sir Gregory's plate; and when 25 impressions only had been taken from it, was cut to pieces by R. Morrison, 1781. I wish some of these discoveries of Hogarth's engravings had been made by people who had no immediate view to their own profit, and the sale of their acquisitions. Too many of our collectors are become dealers.
21. Small oval print for the Rape of the Lock. This was not designed for any edition of it. A few impressions only were taken off from the lid of a snuff-box engraved by Mr. Hogarth, as it is believed, for some gentleman characterized by Pope in his celebrated mock-heroic poem. It is one of the poorest of Hogarth's performances.
22. An emblematic print, representing Agriculture and Arts. "It seems to be a ticket for some society."