The Painting's Position in the Overall Tradition of Passion Narrative Painting

During the Renaissance, Italian artists portrayed scenes from the Passion narrative. Jean Sorabella, in an article titled "The Crucifixion and Passion of Christ in Italian Painting," explains that scenes from the Passion narrative were portrayed in order to convey the deep anguish and drama of the days leading up to Christ's death.

Raphael's audience then, familiar with the Passion narrative through their religious upbringing and other paintings that depict it, would understand the horrible suffering at the heart of the story. The Agony in the Garden then stands in contrast to this, depicting a calm and tranquil Christ accepting his fate. There is no sign of suffering or pain in Christ's face.

By operating in this tradition, Raphael is able to convey the contemplation and calmness of Christ in the face of horrible suffering. Other paintings allowed Raphael to do this, as, without those other paintings within the tradition of depicting the Passion narrative, there would not be any contrasting imagery the audience would associate with the Passion narrative.

Because the painting was part of the larger Colonna Altarpiece, Raphael was able to depict other moments of the Passion narrative in order to contrast The Agony in the Garden from them. Below is The Procession to Calvary, which depicts Christ bearing the cross on his way to be crucified.