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

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VINCENZO FOPPA
The central group, composed of the Madonna, the Saviour, and Nicodemus,
is very impressive and especially in the feeling" and vitality of the heads is not
unworthy of Foppa himself. The technique, drawing, and quality of the flesh
tones show a close connection with him, and the draperies of the two Maries
on the right are of that vivid shade of red which we constantly meet with in
the works of the master. The other figures, however, are on a much lower
plane, insipid in type, and soft and weak in modelling. It is evidently by a
painter who was a close follower of Foppa and who, though approaching him
one part of the composition, in the remainder falls far below him in
nearly in
sincerity of expression and energy of movement and gesture.
however, is
The colouring,
fine throughout, and here this anonymous master, when not imitating
the colours typical of Foppa's palette,
In Civerchio's signed and dated Pieta,
manifests distinct individuality.
on the other hand, in the Church of
S. Alessandro at Brescia, which also shows its dependence on the Berlin
picture, the colour is unpleasantly cold in tone and the modelling of the flesh
remarkably loose and fluid in touch. Yet another version of this subject, a
terra-cotta group of nearly life-size figures in the Church of S. Satiro at
Milan, appears to us closely allied in depth of feeling and vigour of expression
with Vincenzo Foppa, though its appearance has been greatly marred by a
barbarous application of modern paint to which it was subjected some twentyfive
years ago. It was ascribed by Mongeri to Mantegna, and in S. Satiro it
bears the name of Caradosso Foppa, though it is difficult to say on what
grounds, and its connection with Vincenzo is far more intimate. Recently it
has been brought into line with the work of Mantegazza, a sculptor with
whom Foppa often shows himself in closest sympathy. No definite attribution
is possible, but the great affinity in feeling and execution between this composition
and Foppa's treatment of the same subject is undeniable. Many of
the figures seem taken from prototypes in his works ; in the drawing of
the hands and of the hair, in the modelling of the lips and of the eyelids, to
name only a few of the outward characteristics, the connection between this
group and the paintings of the Brescian master is clearly seen, while the
vitality of all
the heads, the deep feeling and touching and eloquent expression,
seem directly inspired by the leading master of the school. We have no
evidence that Foppa himself was ever an exponent of plastic art, but we know
that carvings were produced in his workshop, and that he undertook commissions
for such work, though he may not have executed it himself. The
S. Satiro Pieta, a composition of purest Lombard art, appears to be the work
of an artist who was powerfully impressed by Foppa or at least by his com-
Finally, among the paintings of this subject showing a connection
positions.
with Foppa and the Berlin Pieta must be mentioned the altarpiece now in the
choir of S. Maria della Passione at Milan. It is manifestly a work of a