One of Blake's patrons described him as 'a most fervent admirer of the Bible, and intimately acquainted with its beauties.'. PROVENANCE Thomas Butts; Thomas Butts jun. on copper’. LITERATURE Rossetti 1863, p.227 no.153, and 1880, p.240 no.177; Preston 1952, p.59, no.12 pl. This suggests that Blake used a piece of metal already used in some completely unrelated artefact. It is in the National Gallery, London. Three other disciples have come to keep watch but have fallen asleep. Martin Butlin, William Blake 1757-1827, Tate Gallery Collections, V, London 1990, The Parable of the Wise and Foolish Virgins, The Agony in the Garden, ?after Raphael. This is an illustration to Luke, xxii, 41–4. £420 bt his executors William Rossetti lists this work, under the title ‘Christ in the Garden, sustained by an Angel’, as an ‘Oil picture (?) N05894 The Agony in the Garden c. 1799–1800, N 05894 / B 425 Presented by the Executors of W. Graham Robertson through the National Art-Collections Fund 1949 Christ has retreated to the Garden of Gethsemane to pray. He is in agony – he knows that one of his disciples, Judas, has betrayed him and that as a result he will be arrested, tortured and killed. There in the garden, Jesus Himself expressed in words the intensity of His agony: my soul is sorrowful even to death. And being in an agony he prayed more earnestly: and his sweat was as it were great drops of blood falling down to the ground. Verso: Rough Sketch of Two or Three Figures in a Landscape, Christ Appearing to the Apostles after the Resurrection, The Spiritual Form of Nelson Guiding Leviathan, The Spiritual Form of Pitt Guiding Behemoth, Plate 4 of ‘Visions of the Daughters of Albion’, Creative Commons CC-BY-NC-ND (3.0 Unported). Artwork page for ‘The Agony in the Garden’, William Blake, c.1799–1800 This illustrates lines from St Luke's Gospel, although the inclusion of the sleeping disciples also refers to the Gospels of Matthew and Mark. We would like to hear from you. 12; Keynes Bible Signed ‘WB inv’ in monogram, damaged, b.r. 1957, pp. xiii, 38 no.134 repr. Blake was, of course, averse to the use of oil paint and seems never to have used it. On the painted side, underlying Blake's usual white ground, there is a layer of red paint, probably red lead. The original paint is missing in many places. before and after, Burlington Magazine, XXXII, 1918, p.17) and again in 1949. Blake seems to suggest the detail of Christ's sweat ‘as it were red drops of blood falling down to the ground’. The picture was restored in 1917 (repr. Does this text contain inaccurate information or language that you feel we should improve or change? Christ is shown praying in the Garden of Gethsemene just before his betrayal by Judas and his arrest: And there appeared an angel unto him from heaven, strengthening him. Judas is visible just beyond the river, leading a group of soldiers to Christ. and colour pl. The Agony in the Garden is an early painting by the Italian Renaissance master Giovanni Bellini, who painted it around 1459–65.

The Agony in the Garden of Gethsemane was an event in the life of Jesus from the New Testament, between the Farewell Discourse at the conclusion of the Last Supper and Jesus' arrest. vii; Blunt 1959, p.67; Kremen 1972, pp.154, 253 n.128, pl.10; Bindman 1977, p.124; Paley 1978, p.55; Butlin 1981, pp.332–3 no.425, colour pl.509. Although most of Blake's tempera paintings on metal seem to be on copper recent analysis by Brian Gilmore of the New Armouries at the Tower of London has shown that the support in this case is iron, almost certainly coated with a form of tin. Verso: Sketch of a Girl Extending her Hand to a Man, The Good Farmer, Probably the Parable of the Wheat and the Tares. This illustrates lines from St Luke's Gospel, although the inclusion of the sleeping disciples also refers to the Gospels of Matthew and Mark. Christ is shown praying in the Garden of Gethsemene just before his betrayal by Judas and his arrest: And there appeared an angel unto him from heaven, strengthening him. F.J. Butts, offered Sotheby's 24 June 1903 (14) £28 bt in Dimsdale; his widow, sold April 1906 through Carfax to W. Graham Robertson, offered Christie's 22 July 1949 (30, repr.) Tempera on iron 270×380 (10 5/8×15), 3 ( 1/8) cut off diagonally at each corner

I believe that, together with Jesus hanging on the cross, the mystery of the agony in the garden is the most profound mystery to contemplate in the whole story of the passion, in the event of our redemption. Published in: Image released under Creative Commons CC-BY-NC-ND (3.0 Unported). ; Capt. EXHIBITED Carfax 1904 (11); Carfax 1906 (3); Arts Council 1951 (30, pl.9); Tate Gallery 1978 (139, repr.)

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