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The Agony in the Garden is a painting of 1455–1456 by the Italian artist Andrea Mantegna [1] in the National Gallery, London. The painting shows Christ (at the centre) praying before a group of cherubs (at upper left) who are holding instruments of the Passion .
The Triumph of the Virtues (also known as Minerva Expelling the Vices from the Garden of Virtue) is a painting by the Italian Renaissance painter Andrea Mantegna, completed in 1502. It is housed in the Musée du Louvre of Paris .
Polonius comes rushing in. The King tells him he has seen the ghost of the dead king. Polonius tries to calm the King and warns him to beware lest a word betray them both. The King rushes out followed by Polonius. Hamlet emerges from behind the tapestry (Hamlet: Polonius est son complice! le père d'Ophélie! – "Polonius is his accomplice.
The polyptych is signed in the cartouche visible on the step in the central panel. It was commissioned for the convent annexed to the church of Santa Maria extra moenia in Messina, also called San Gregorio, whence its modern name.
Polonius's most famous lines are found in Act 1 Scene 3 ("Neither a borrower nor a lender be"; "To thine own self be true") and Act 2 Scene 2 ("Brevity is the soul of wit"; and "Though this be madness, yet there is method in't") while others have become paraphrased aphorisms ("Clothes make the man"; "Old friends are the best friends"). Also ...
The six original tapestries illustrate the story of the Grail quest as told in Sir Thomas Malory's 1485 book Le Morte d'Arthur.Like other Morris & Co. tapestries, the Holy Grail sequence was a group effort, with overall composition and figures designed by Edward Burne-Jones, heraldry by William Morris, and foreground florals and backgrounds by John Henry Dearle.
The painting remains at the extended size but is currently (in November 2013) displayed behind a screen with a frame added over a cut-away section revealing only the original dimensions. Stylistic elements, such as the lightness, the economical use of paint, and the clear influence of the Italian Baroque , have led most scholars to assert that ...
The painting on the back wall is of an idealised shepherdess with the face replaced with that of a well-known prostitute. Immediately below this painting is a pair of comic legs belonging to a character in the tapestry behind, but appearing to belong to the shepherdess. The painting over the door is of St Luke with his drawing board ...