Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/320
wafers are floating, representing the offering for the sins of the world, flows into the second part, representing a flower garden, where six angels play on musical instruments; beyond these, on each side, are singing angels under Gothic canopies. In the third or lower part, the water finally flows into a Gothic fountain in the centre foreground, with the blessed on one side, headed by the Pope, who directs the attention of the Emperor, kneeling beside him, to the fount as the source of salvation; on the other side, the High Priest, his eyes bound and holding a broken standard, endeavors to prevent a kneeling Jew from paying adoration; beside these are other Jews, in attitudes of horror and despair. Dr. Waagen ascribes this picture to Hubert van Eyck, but the preponderance of opinion is against him. It is called also the Fount of Salvation.—Kugler (Crowe), i. 68.
TRIUMPH OF DEATH. See Death;
Crescenzio, Antonio.
TRIUMPH OF FLORA. See Flora.
TRIUMPH OF LOVE, Domenichino,
Louvre; canvas, H. 4 ft. 3 in. × 3 ft. 4 in.
Love, seated in a chariot, drawn by doves,
holds a bow in his right hand and drives
with his left; near him a cupid scatters
flowers, while another takes them from the
crown of Love; the whole surrounded by a
garland of flowers, painted by Daniel Seghers.
Came from Villa Ludovisi, Rome, to
Duc de Mazarin; thence to collection of
Louis XIV. When placed in the gallery at
Versailles the garland was detached from the
main picture, and it was long supposed to
be lost, but it was found in 1858 and is now
restored to the picture. Engraved by C.
Randon; Potrelle.—Villot, Louvre; Musée
français; Filhol, ix. Pl. 591; Landon, Vies,
Pl. 59.
TRIUMPH OF PETRARCH. See Petrarch.
TRIUMPH OF RELIGION. See Dispute
of the Sacrament; Testament, Old and New.
TRIUMPH OF RELIGION IN THE
ARTS, Johann Friedrich Overbeck, Städel
Gallery, Frankfort; canvas, H. 14 ft. × 12 ft.
The Madonna, with the Infant in her arms,
sits enthroned in mid-heaven, surrounded
by prophets, evangelists, and saints; on the
earth below are some sixty painters, sculptors,
and architects; in the centre a fountain,
its upper waters rising into the sky,
emblematical of the heavenward direction
of Christian art as opposed to the idea of
the ancients, who represented the stream as
flowing downward from Parnassus, its lower
waters falling into two basins, one of which
reflects heaven, while the other receives
earthly objects, thus indicating the twofold
character of art. Sometimes called the
Christian Parnassus and the Magnificat of
Art. Painted in 1831-1840; cartoon in
Carlsruhe Gallery. Engraved by Amsler.—Atkinson,
65; Overbeck, Religion Glorified
by Fine Arts (translated by Macray, Oxford,
1850); Gaz. des B. Arts (1864), xvii. 135.
TRIUMPH OF TITUS AND VESPASIAN.
See Titus.
TRIVA, ANTONIO, born at Reggio in
1626, died at Munich in 1699. Lombard
school; history painter, pupil of Guercino,
whom he imitated successfully; distinguished
himself in various cities of North
Italy, including Venice, and finally was
called to Munich by the Elector Ferdinand
Maria of Bavaria, for whose castles he
painted mythological and historical pictures;
is said to have worked with either
hand equally well. Work: Cupid wiping
the Feet of Venus, Dresden Museum.—Lanzi
(Roscoe), ii. 364; Nagler, xix. 10.
TROGER, PAUL, born at Zell, Tyrol,
Dec. 30, 1698, died in Vienna in 1777.
German school; history and portrait painter,
pupil at Fleims, South Tyrol, of Giuseppe
Alberti (1664-1730), then studied in Venice
and Bologna. Piazetta, G. Crespi, Solimena,
and S. Concha are named as his masters.
Probably about 1728-30 he went to Vienna,
where his works at once attracted attention
and he was made court painter. Temporary
director of Vienna Academy in 1751-59.
Works: Christ on Mount of Olives, Vienna