Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/305



TITIAN AND HIS MISTRESS. See Dianti, Laura.

TITIAN'S UNCLE, Titian, Hampton Court; canvas, H. 3 ft. 9 in. × 3 ft. 2 in. Half-length, dressed in black, standing at a table, a book in one hand, a golden apple in the other. Named as above between 1842 and 1854, but for what reason is not apparent. Perhaps a portrait of Partenio, a poet and friend of Titian, who wrote verses on his pictures.—C. & C., Titian, ii. 429; Law, Hist. Cat. Hampton Court, 38.

TITIAN, VISIT TO, Daniel Huntington, Samuel Hawk Collection, New York; canvas. Clement VII. and Charles V., seated in centre, with courtiers standing behind; at right, ladies seated; at left, Titian standing, uncovering his picture of the Entombment, now in the Louvre; in background, through the window, are seen the towers of Bologna. Scene in 1530, when Titian went to Bologna to paint the portraits of the Pope and the Emperor.—Art Treasures of America, ii. 25, 28.

Triumph of Titus and Vespasian, Giulio Romano, Louvre, Paris.

TITUS AND VESPASIAN, TRIUMPH OF, Giulio Romano, Louvre, Paris; wood, H. 4 ft. × 5 ft. 7 in. Titus and Vespasian, crowned with laurel, in a chariot drawn by four horses, marching in a procession which is passing under the triumphal arch erected to commemorate the conquest of Judea; above, the Goddess of Victory flies down to crown them; in front of the chariot a Roman officer holds by the hair a Jewess—the personification of conquered Judea; he is preceded by a soldier bearing the seven-branched candle-stick. Painted for Duke of Mantua, from whom acquired by Charles I. of England; sold after his death to Jabach, who sold it to Louis XIV. Engraved by Reindel; L. Desplaces; A. Girardet.—Musée royal, i. Part 1; Filhol, x. Pl. 704; Landon, Musée, xiv. Pl. 61; Villot, Cat. Louvre; Ch. Blanc, École romaine; Cab. Crozat, i. Pl. 50.

TKADLIK. See Kadlik.

TOBAR, Don ALONSO MIGUEL DE, born at Higuera, near Aracena, in 1678, died in Madrid in 1758. Spanish school; pupil in Seville of Juan Antonio Fajardo, a mediocre painter; afterwards improved his style by copying the works of Murillo, and became the most noted of his imitators. Probably much of his work passes under the name of his great exemplar. In 1720 he became a familiar of the Holy Office, and in the same year executed for the Cathedral of Seville his most famous original work, Nuestra Señora del Consuelo (Virgin of Consolation), which won him the favour of Philip V. and the appointment (1729) of court painter. Other works: Madonna, Virgin appearing to St. Francis, Academia S. Fernando, Madrid; Virgin in Contemplation, Portrait of an Infanta, Heirs of Don Sebastian, Pau; St. Joseph and Infant Jesus, Berlin Museum. Copies after Murillo: Portrait of Murillo, Museo del Prado, Madrid; Virgen de la Faja, Cadiz Museum; Good Shepherd, Infant St. John, S. Isidoro,