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318 NATHANIEL HONE THE ELDER RA (1718-1784)The Spartan Boy
Oil on canvas 66 x 51cm
Signed with initials NH, lower left
Provenance: Captain Barrington Bradshaw, by whom bequeathed in 1804 to George Bygen; A.H.Bradshaw , and by
descent in 1852 to W. Bradshaw; Acquired privately in 1955; Private Collection, Dublin.
The success of Nathaniel Hone’s famous painting
The Spartan Boy
when first exhibited at the Royal Academy,
London in 1775 would solidify its reputation amongst art-buying public and critics alike. To satisfy demand for
the work numerous prints were produced, such as one by William Humphrey and now in the British Museum
collection. Following on from the example of fellow artists Hone later produced this present example based on
his original painting. It was not unusual at the time for artists to exploit the popularity of a particular subject
matter through repeated versions of the same painting.
John Camillus Hone, the artist’s young son is acting as the sitter for the portrait, dressed up as a Spartan youth.
Hone regularly used his family members as models in his paintings producing a large series of portraits of his
children and grandchildren. Though disguised in various costumes of allegorical figures from antiquity, the
decision to use his own family introduces an element of individuality. We know the identity of these figures
even if the function of the work is not an insight into their personality or emotions. Equally Hone manages to
capture the innocence of his young sitters through their relationship with a small animal such as rabbit or dog.
However in this example there is a somewhat darker tone, indicated by the ominous cloud-filled sky behind the
boy. He is holding a fox which refers to the story of initiation undergone by Spartan youths in Ancient Greece.
As a highly disciplined society, Spartan children were raised to be diligent and respectful of their elders. They
were also a pre-eminent military power, training male children from a young age to be great warriors. One
part of their initiation into the ranks of the army was judged by the act of stealing without being caught. If they
failed, it would mean disgrace for the individual and great shame for their family. Usually the sitter’s in Hone’s
portraits have somewhat blank gazes, but on this occasion the internal battle is perfectly captured by the trou-
bled expression on the boy’s face as he smuggles the animal inside his coat. As fate would have it the fox bites
the boy and he suffers a mortal wound. Rather than be discovered he remains silent, a pained look of despair
which belies his age. In a culture where modesty and strength are highly respected the allegory of the Spartan
Boy became an important symbol of stoic perseverance.
€ 20,000 - 30,000