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TWO:All existence, according to Plotinus, proceeds from the One, which he also calls God. But God does not create the world by a conscious exercise of power; for, as we have seen, every form of consciousness is excluded from his definition.319 Neither does it proceed from him by emanation, for this would imply a diminution of his substance.469 It is produced by an overflow of his infinite power.470 Our philosopher tries to explain and defend this rather unintelligible mode of derivation by the analogy of physical substances and their actions. Light is constantly coming from the sun without any loss to the luminary itself.471 And all things are, in like manner, constantly communicating their proper virtue to others while remaining unaltered themselves. Here we have a good example of the close connexion between science and abstract speculation. People often talk as if metaphysics was something beyond the reach of verification. But some metaphysical theories admit, at any rate, of disproof, in so far as they are founded on false physical theories. Had Plotinus known that neither the sun nor anything else in Nature can produce force out of nothing, he would, very probably, have hesitated to credit the One with such a power.He first published an engraving of "The Small Masquerade Ticket, or Burlington Gate," in ridicule of Lord Burlington's architecture, and of Pope's eulogiums on Burlington and satire of the Duke of Chandos. He illustrated "Hudibras," and produced a satirical plate, "The Taste of the Times," in 1724; and, some years after, "The Midnight Conversation" and "Southwark Fair." Not content with the fame which this vein, so peculiarly his own, was bringing him, he had the ambition to attempt the historical style, but this was a decided failure. In 1734, however, he came out in his full and peculiar strength in "The Harlot's Progress." The melancholy truth of this startling drama, mingled with touches of genuine humour, seized at once on the minds of all classes. It became at once immensely popular; it was put on the stage, and twelve hundred subscriptions for the engravings produced a rich harvest of profit. In the following year he produced "The Rake's Progress," which, though equally clever, had not the same recommendation of novelty. In 1744 he offered for sale the original paintings of these subjects, as well as "The Four Times of the Day," and "The Strolling Actresses Dressing in a Barn;" but here he felt the effects of the sturdy English expression of his sentiments on art, and his distributing of an engraving of "The Battle of the Pictures," as a ticket of admission, gave great offence to painters and their patrons. The whole sum received was only four hundred and twenty-seven pounds. Undaunted by his self-injuring avowal of his opinions, he offered in 1750 the pictures of "Marriage �� la Mode" for sale, but put forth an advertisement in such caustic terms, as he reflected on the result of his former auction, that he effectually kept away purchasers, and obtained only a hundred and twenty pounds for what Mr. Angerstein afterwards gave a thousand pounds for. His "March to Finchley" being sent for the royal inspection, so impressed George II. with the idea that it was a caricature of his Guards, that, though the engraving of it was dedicated to him, he ordered the picture out of his sight, with expressions of great indignation. Hogarth quietly substituted the name of the King of Prussia in the dedication, as "an encourager of the arts."

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