Death and three fates on an ox-drawn carriage; historical figures die on the ground beneath; representing the triumph of death. Engraving by S. Pomarede, 1748, after G. Buti after Bonifacio de' Pitati.

1748

1 print : line engraving ; border 34.2 x 49.5 cm

Triumphus Mortis a Francisco Petrarcha versibus elegantissime scriptus, atque in archetypa Titiani celeberrimi pictoris tabula, quae Domini Ioannis Michilli Romani juris est, vivis coloribus ad artis miraculum expressus, heic æri incisus apparet. Fila hominum vitae nostris cito currite fusis = Dixerunt stabili satorum numine Parcae = Clotho, Atropos, Lachesis, Mors namque agit alta triumphum. Titianus pinxit. Io. Ant. Buti del. Sylv. Pomarede sculp.

Wellcome Collection 26234i

[Isaac Jamineau?], Description of four capital pictures by Titian after the cantos of Petrarch stiled the Triumphs of time, of fame, of religion, & of death, [London? 1774?]

P. Cottrell, 'Painting poetry: Bonifacio de' Pitati's "Triumphs of Petrarch"', Artibus et historiae, 2013, 68: 121-141

Georgios E. Markou, 'Bonifacio de' Pitati's "Triumphs of Petrarch" and their Cypriot patron', The Burlington magazine, 2017, 159: 600-609

Generally attributed to Titian up to ca. 1831

After a painting commissioned by the Synglitico family in Venice ca. 1545. By 1748 it was in the collection in Rome of Giovanni Michilli, collector of tobacco taxes for the Vatican, and later in the possession of Isaac Jamineau, British consul in Naples 1753-1779. It subsequently became untraced

One of four engravings by Pomarede after four of six paintings described in 1570 as "quadri sei grandi con li sei triomphi del Petracha cioe della morte, del tempo, d'amore, la fama, la castita, la divinita" (Markou, op. cit., p. 602)