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