William Hogarth (1697–1764) and book illustration I: Hudibras, Quixote and the Littlecote House murals

This article progresses long-term researches on Hogarth and book history, the iconography of skimmington transnational receptions Don Quixote, by introducing a substantial new group images potentially illuminating Hogarth's lost activities as young painter, before he turned 30 in 1727. Astoundingly, no previous research-based study them exists. Unknown to specialists dismissed art historians, they are painted room at Littlecote House. Within complex decorative scheme broadly referencing themes human folly cabinet curiosities, two walls feature floor ceiling composite murals uniting numerous episodes from publications most significant for early career illustrator: Cervantes' Quixote its successful English derivation, Samuel Butler's Hudibras. book-length poem is exceptionally significant: Book-historically key role copyright legislation eighteenth-century British illustration; arthistorically central Hogarth, who published sets engravings illustrating Hudibras 1726. Local historians attribute unidentified amateur Dutch painters, working 1660s (when was first published). Archive-based evidence presented here confirms their dating not but 1720s supports presence House around 1724. work heavily indebted exemplary scholarship landmark 2016, Elizabeth Einberg's authoritative catalogue paintings (all post-1726) Peter Black's ground- -breaking exploration house decoration. I re-visit practice illustration decoration with reference canon pre-1800 images, newly enlarged situating mural within this context associated visual, literary historical traditions. With here, ask: Is Littlecote's rightly neglected pastiche? Or does it deserve closer scholarly attention? Perhaps even an exceptional unrecognized treasure? Should now evaluate entirely possibility: whether challenging pre-1727 gap painter can be addressed identifying his earliest House? must confess, have little hopes having favourable attention given my design general, those already had more fashionable introduction into mysteries arts painting, sculpture. Much less do expect, or truth desire, countenance that set people, interest exploding any kind doctrine, may teach us see our own eyes.