Vincenzo Foppa of Brescia, founder of the Lombard school, his life ...

Cap. VIII. THE PIETA, BERLIN 197
panel, leaves no doubt that the two pictures are identical. But was the
altarpiece seen and described by Albuzzio actually by Foppa? The attribution
of an eighteenth century writer would carry no weight, and the signature
would be equally valueless as testifying to the hand of the master unless
corroborated by the painting itself.
It must be admitted that the present state
of the picture is extremely unsatisfactory, for though when Albuzzio wrote it
was apparently in a good state of preservation, it must subsequently have
suffered irreparable injury and was for many years relegated to the depot of the
gallery. The flesh tones have deteriorated to an even greater extent than
those of the St. Sebastian in the Castello at Milan or of the angel in the Brera
altarpiece, and the colour which we now look upon is altogether modern in
quality. We know from the National Gallery Adoration of the Magi how
brilliant and telling is Vincenzo Foppa's colouring when in its original state,
and it is obvious therefore that the juxtaposition of violent shades of crude
scarlet and cold yellow and of other colours which seem altogether foreign to his
palette and produce a discordant and inharmonious effect, must be in great
part the result of later restoration. In addition to this there are certain defects
which cannot be overlooked, such as the abnormal length of the body of the
Saviour and the weakness in the drawing of the hands, which are for the most
part disproportionally small in size ; but notwithstanding these imperfections
the master's individuality is stamped on every part of the picture, and we must
adhere to the opinion which we expressed some years ago that it is an
undoubted work of Vincenzo Foppa,' though in the present unfortunate condition
of the panel we gain a far better idea of its original character from
Hanfstaengl's admirable photograph than from a direct study of the painting.
The Saviour's body, in spite of its somewhat exaggerated proportions, is
anatomically correct in drawing, and closely connected in form and feeling with
the St. Sebastian of the Castello Museum and with the figure of the same
saint in the processional banner at Orzinuovi. The very characteristic drawing
of the heavy eyelids and of the features in all these figures recalls the
identical with the picture at Berlin, but in quoting that writer's words Calvi (pt. ii, p. 63)
omitted to give the form of the signature. Albuzzio's MS. was for many years inaccessible
to the public, but it is now in the possession of the Marchese Soragna, who
kindly allowed it to be consulted in order that Calvi's quotation might be verified. The
discovery that the form of signature given in the MS. agrees in every particular with
that on the Berlin Pieta, coupled with the fact that Albuzzio's words accurately describe
that picture, has dispelled all doubts and has completely proved the identity of the two
works. The authenticity of the inscription is beyond dispute and was vouched for some
years ago by the late Dr. Ludwig, who at our request examined the painting carefully
and pointed out the signature to the authorities of the Berlin Gallery. The history of
the picture was fully discussed in the Repertorium fur Kunstwissenschaft, 1902, p. 65.
1 Repertorium, etc., p. 65 and foil.