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Baroque Trinity, Hendrick van Balen, 1620, (Sint-Jacobskerk, Antwerp) Holy Trinity, fresco by Luca Rossetti da Orta, 1738–39 (St. Gaudenzio Church at Ivrea). The Trinity is most commonly seen in Christian art with the Holy Spirit represented by a dove, as specified in the gospel accounts of the baptism of Christ; he is nearly always shown with wings outspread.
The Shield of the Trinity or Scutum Fidei (Latin for "shield of faith") is a traditional Christian visual symbol which expresses many aspects of the doctrine of the Trinity, summarizing the first part of the Athanasian Creed in a compact diagram. In late medieval Europe, this emblem was considered to be the heraldic arms of God, and of the Trinity.
The crowded altarpiece depicts the Trinity, with God the Father holding a crucifix with a still-alive Jesus. Above them, in a cloud of light surrounded by cherubim, is the Holy Spirit in the form of a dove. God the Father wears an imperial crown and a wide gilt cloak, lined in green and supported by angels.
The Trinity was painted on a vertically aligned board. It depicts three angels sitting at a table. On the table, there is a cup containing the head of a calf. In the background, Rublev painted a house (supposedly Abraham's house), a tree (the Oak of Mamre), and a mountain (Mount Moriah).
La Gloria (c. 1550-1554) by Titian. La Gloria is a painting by Titian, commissioned by Charles V in 1550 or 1551 and completed in 1554. It was first given this title by José Sigüenza in 1601 — it is also known as The Trinity, The Final Judgement, Paradise, and Adoration of the Trinity.
It also recalls both the Trinity and the Incarnation. Pope Innocent III (1198–1216) explained: "The sign of the cross is made with three fingers, because the signing is done together with the invocation of the Trinity. [...] This is how it is done: from above to below, and from the right to the left, because Christ descended from the heavens ...
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The Trinity by Russian icon painter Andrei Rublev, early 15th century.This portrayal of the three angels who visited Abraham at the Oak of Mamre (Genesis 18:1–8) was not intended as a literal or exact representation of the Trinity, but as a meditation upon the relational life of the Trinity through the Biblical narrative.