William Hamilton R.A. 1751-1801

By descent in the Csaky family, until sold, Dorotheum, Vienna, 25th-27th April 1912, lot 325 (the latter painting was described as being dated 1784);
Anon. sale, Weizinger, Munich, 29th May 1914, lot 50 (the latter painting was described as being dated 1784);
Mauerbach benefit sale, Christie's, Vienna, 29th October 1996, lots 67 and 68

These pictures explore the theme of competition in love, and the tragic consequences when only one may triumph.  The story of Palamon and Arcite has a distinguished literary heritage; though set in ancient times, in fact the story originated in the Middle Ages, first appearing in Boccaccio’s La Teseida. Chaucer adapted the story for the ‘Knight’s Tale’ in the Canterbury Tales, Dryden transformed the tale into poetry; Fletcher and Shakespeare dramatised the narrative, calling their play ‘Two Noble Kinsmen’. 

Palamon and Arcite are two young knights whose close friendship is tested when they both fall in love with Emelyne, the younger sister of Theseus’ wife Ipolita. Arcite was exiled from the kingdom but returned under a different name to continue with his quest to win the hand of Emelyne.  Palamon discovered the deceit and accused him of treason.  The knights resolved to fight a dual to prove their love but are caught by Theseus; the painting is set at this moment.  Palamon, who is said to symbolise true love and passion, gestures to his rival and looks expectantly at Theseus, prevailing upon him to allow the fight to continue.  Arcite, symbolising military honour, stands on the right, his bowed head indicating his shame.  Ipolita and Emelyne have rushed in, their billowing draperies and emphatic gestures revealing the dramatic tension of the moment.  Eventually to solve the dispute, Theseus ordered Palamon and Arcite to fight a tournament whereby the triumphant victor would win the hand of Emelyne on just and honourable terms. 

The narrative of the second picture is taken from Plutarch (43:38) and depicts the crucial moment of the tale of Antiochus and Stratonica. Antiochus, the son of Seleucus who founded the dynasty that ruled the Middle Eastern provinces following the death of Alexander the Great, had fallen in love with his stepmother Stratonica.  Convinced that his love was hopeless, he began to starve himself to death.  Seleucus, perplexed by his son’s malady, sent for the court physician, Erasistratus.  The doctor quickly diagnosed that the condition was unrequited love, but the object of the Prince’s affections remained a mystery.  In order to establish her identity, Erasistratus brought the ladies of the court to Antiochus’ bedside, to observe his response.  The picture shows the climactic moment when Erasistratus exposes Antiochus’ love for his own stepmother, Stratonica.  Erasistratus gestures towards the couple, signifying his discovery to the seated Seleucus, who throws his hands apart in disbelief.  Subsequently, Seleucus announced his abdication, leaving his kingdom and his wife to his son.      

It is possible that the shared theme of the paintings, that of the disastrous result of rivalry between two parties for the hand of a lover, may have been pertinent to the commissioner of the pair.  However, the identity of the painting’s patron and the romantic reason for their creation still remains a mystery.