A subject
The Agony in the Garden
Matthew 26:36-561390–16263 hands
Opened by a notation lookup, not by an editor. Iconclass 73D31 glosses this subject as “Gethsemane, Mount of Olives, 'Oelberg' (Matthew 26:36-56; Mark 14:32-52; Luke 22:39-53; John 18:1-12)”, and this library reads the Douay-Rheims, where the passage stands at Matthew 26:36-56. Iconclass states 4 references for this subject; the first one this corpus holds is used. Named the Agony in the Garden by Abe Garcia, 2026-09-07. Three place names, one of them German, is a finding aid rather than a title.
Then Jesus came with them into a country place which is called Gethsemani; and he said…
Matthew 26:36
An editor has read 3 pictures against this passage and confirmed them.
3 hands, 1390 to 1626
The hands
3
Unknownca. 1390The Agony in the GardenThe Cloisters Collection, 1986. CC0-1.0Metropolitan Museum of Art catalogues this picture under its own subject heading “Agony in the Garden”. Wikidata states that concept’s Iconclass notation as 73D312111 (Q2467856), and the library’s map reads that notation as this passage. 
Raphael (Raffaello Sanzio or Santi)ca. 1504The Agony in the GardenFunds from various donors, 1932. CC0-1.0Raphael's predella panel: Christ kneeling on the Mount of Olives with the angel above him and the disciples asleep below. Iconclass 73D31211. 
Nicolas Poussin1626–27The Agony in the GardenGift of Jon and Barbara Landau, in honor of Keith Christiansen, 2021. CC0-1.0Poussin's Agony in the Garden, the same night by another hand, joined through the Met's own subject heading rather than a notation.
The passage
21 verses36Then Jesus came with them into a country place which is called Gethsemani; and he said to his disciples: Sit you here, till I go yonder and pray.
37And taking with him Peter and the two sons of Zebedee, he began to grow sorrowful and to be sad.
38Then he saith to them: My soul is sorrowful even unto death: stay you here, and watch with me.
39And going a little further, he fell upon his face, praying, and saying: My Father, if it be possible, let this chalice pass from me. Nevertheless not as I will, but as thou wilt.
40And he cometh to his disciples, and findeth them asleep, and he saith to Peter: What? Could you not watch one hour with me?
41Watch ye, and pray that ye enter not into temptation. The spirit indeed is willing, but the flesh weak.
42Again the second time, he went and prayed, saying: My Father, if this chalice may not pass away, but I must drink it, thy will be done.
43And he cometh again and findeth them sleeping: for their eyes were heavy.
44And leaving them, he went again: and he prayed the third time, saying the selfsame word.
45Then he cometh to his disciples, and saith to them: Sleep ye now and take your rest; behold the hour is at hand, and the Son of man shall be betrayed into the hands of sinners.
46Rise, let us go: behold he is at hand that will betray me.
47As he yet spoke, behold Judas, one of the twelve, came, and with him a great multitude with swords and clubs, sent from the chief priests and the ancients of the people.
48And he that betrayed him, gave them a sign, saying: Whomsoever I shall kiss, that is he, hold him fast.
49And forthwith coming to Jesus, he said: Hail, Rabbi. And he kissed him.
50And Jesus said to him: Friend, whereto art thou come? Then they came up, and laid hands on Jesus, and held him.
51And behold one of them that were with Jesus, stretching forth his hand, drew out his sword: and striking the servant of the high priest, cut off his ear.
52Then Jesus saith to him: Put up again thy sword into its place: for all that take the sword shall perish with the sword.
53Thinkest thou that I cannot ask my Father, and he will give me presently more than twelve legions of angels?
54How then shall the scriptures be fulfilled, that so it must be done?
55In that same hour Jesus said to the multitudes: You are come out as it were to a robber with swords and clubs to apprehend me. I sat daily with you, teaching in the temple, and you laid not hands on me.
56Now all this was done, that the scriptures of the prophets might be fulfilled. Then the disciples all leaving him, fled.
In the stacks
Not yet checked6Suggested by an AI model from books the library holds but has not yet set as editions. A passage here is a place to read, not a citation.
Problems of mysticism and its symbolism
John xix, 33. " But when they came to Jesus, and saw that he was dead already, they brake not ANALYTIC INTERPRETATION 85 his legs." — 40 f. " Then took they the body of Jesus and wound it in linen cloths with the spices. . . . Now in the place where he was crucified there was a garden, and in the garden a new sepulcher, wherein was never man yet laid." We shall mention later the significance of garden and grave. It supports that of the cloths.] Rank
0.73The Myth of the Birth of the Hero
And they came with haste, and found Mary and Joseph, and the babe lying in a manger. And when they had seen it they made known abroad the saying which was told them concerning this child. And all they that heard wondered at those things which were told them by the shepherds. But Mary kept all these things and pondered them in her heart. And the shepherds returned glorifying and praising God for all the things which they had heard and seen, as it was told unto them.” We now
0.72PEN, PENCIL, AND POISON 73 of "The Crucifixion," by Rembrandt. It is ex- tremely characteristic of his style: — " Darkness — sooty, portentous darkness — shrouds the whole scene: only above the accursed wood, as if through a horrid rift in the murky ceiling, a rainy deluge — ' sleety- flaw, discoloured water ' — streams down amain, spreading a grisly spectral light, even more horrible than that palpable night. Already the Earth pants thick and fast ! the dark- ened Cross trembles ! the winds are dropt —
0.71Religious art in France, 13 century
186 OF THE THIRTEENTH CENTURY was buried, so that His blood should flow over the bones of our first parent.1 The Cross was not fashioned from any chance wood but from the Tree of the Knowledge of Good and Evil. Its trunk, after having served as the bridge over which the Queen of Sheba passed when she entered Jerusalem, had been miraculously preserved at the bottom of the Temple reservoir. So by the will of God the instrument of the Fall became the means of the Redemption.* And lastly, the
0.71"Such a thing is unknown," said he. "In a society where there is no punishment to evade, no law to triumph over, remorse will certainly follow transgression." "And lesser outbreaks of violence," said I, "how do you deal with them? for hitherto we have been talking of great tragedies, I suppose?" Said Hammond: "If the ill-doer is not sick or mad (in which case he must be restrained till his sickness or madness is cured) it is clear that grief and humiliation must follow the ill-deed; and society in general
0.71Problems of mysticism and its symbolism
286 PROBLEMS OF MYSTICISM which it may expect in the celestial bliss." How- ever, I do not know whether such a man can be found on earth. " He continues : Of this method of distinguish- ing between the works of the spirits, Saint John (I John IV, 3) speaks in his epistle: * Every spirit that confesseth not that Jesus Christ is come in the flesh is not of God ' (or as it is translated by Luther : ' Who does not recognize that Jesus Christ is come
0.71
How this subject was made
The subject was opened by an Iconclass notation. The library's map reads 73D31, whose own gloss is Gethsemane, Mount of Olives, 'Oelberg' (Matthew 26:36-56; Mark 14:32-52; Luke 22:39-53; John 18:1-12)
, as Matthew 26:36-56; a picture reaches this page when the notation a cataloguer put on it resolves here, whether the cataloguer wrote the notation down or wrote a subject heading that carries one. The authority is iconclass.org/73D31.
Connections
Painted
- The Agony in the Garden1390Metropolitan Museum of Art catalogues this picture under its own subject heading “Agony in the Garden”. Wikidata states that concept’s Iconclass notation as 73D312111 (Q2467856), and the library’s map reads that notation as this passage.
- The Agony in the Garden1499Raphael's predella panel: Christ kneeling on the Mount of Olives with the angel above him and the disciples asleep below. Iconclass 73D31211.
- The Agony in the Garden1626Poussin's Agony in the Garden, the same night by another hand, joined through the Met's own subject heading rather than a notation.