TATE BRITAIN introduces a series of themed tours today that could work wonders for both the England and Australia cricket teams as they struggle to come to terms with the days after the Ashes before.

The gallery has created minicollections of paintings to cater for visitors in any mood.

Andrew “Freddie” Flintoff, who might be regretting his two-day celebrations this morning after his man-of-the-series role, could wander blearily through the I’m Hungover collection. The mini-tour, set out in a leaflet, suggests an eight-picture tour including soothing vistas such as George Barret Senior’s River Scene with Watermill, Figures and Cows, and reminders of last night’s mistakes such as William Hogarth’s The Dance.

Tate reminds visitors that they are not the first to have overindulged. “In the background [of The Dance] a tired dancer has taken off his wig and mops his bald head by the window,” the leaflet notes. “This proves the hangover was invented centuries ago.”

Flintoff would also be reminded of the consequences of carousing in Hogarth’s Satan, Sin and Death and the possibil- ity of repentance in Richard Wilson’s Rome: St Peter’s and the Vatican from the Janiculum.Shane Warne and his team-mates might find comfort after parting with the Ashes in the I’ve Just Split Up collection. Ophelia, by Millais, reminds mournful lovers that breaking up was much worse for Hamlet’s girlfriend, who drowned herself after her beloved advised her to become a nun. “Think about it: if someone else went through that, maybe it ’s not the end of the world for you,” Tate advises.

John Martin’s The Last Judgment is recommended for people who think they are witnessing the end of the world and Simon Patterson’s The Great Bear, a reworking of the London Underground map, will make visitors think about the future.

“If you think about it, you’re facing a moment of endless possibilities. Anything can happen now. Comb your hair; you never know,” the gallery says.

Other leaflets include the First Date collection, which contains suggestive works such as Vesuvius in Eruption, and the Happily Depressed collection, featuring macabre works such as Rachel Whiteread’s Untitled II, a cast of a bed that evokes “illness, dying and other less cheerful things”.

Visitors can also curate their own tours by visiting Tate’s website and selecting paintings according to any theme they choose.

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