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

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212 VINCENZO FOPPA Noseda Collection, which might lead us to infer that the painter of these angels was not unacquainted with that early work ; but in the main there is little to connect any of the angels of the Versailles picture with Foppa himself. In type these figures are totally unlike the models of the Brescian master ; the peculiar form of cranium and elongated shape of face, the monotonous drawing of the features, the empty expression, the uniformity in the treatment of the hair, have nothing of his character ; but it is the absence of all individuality and purpose in these heads which renders it practically certain that this part of the picture could not have been composed or executed by him. Of these five angels, who are all engaged in singing, only one seems capable of emitting a sound, and all are lacking in that vitality and earnestness of feeling which the master never fails to impart to his compositions.^ Nor is it possible to recognize the manner and the spirit of the Brescian painter in the representation of the Infant Saviour or in the angel who kneels beside Him, for neither in type, drawing, nor expression can we discern any true connection with him. That the picture has been excessively repainted there can be no doubt, and to this may be due in part the empty expression noticeable in many of these heads, the smooth texture of the flesh, and the very modern aspect of the two angels in the air," but it cannot account satisfactorily for the distinct evidence of two difi'erent hands which is perceptible in this work. Are we to assume that it was left unfinished by Foppa and completed at a later date ? or that the right side having been injured was restored by another hand ? On the whole this last seems the most probable solution, taking the inscription into consideration, for Foppa, who only signs his pictures on rare occasions, and then not in the prominent manner which we see here, would scarcely have appended his signature to an unfinished fragment. At some date unknown the picture was transferred from panel to canvas, a fact which may also help to explain the present condition of the painting. Of its former history we know nothing, and though Brescian guidebooks mention several pictures by Foppa in which this subject was treated, it is impossible to identify it with any of them ; but that it must have been the ^ In the curious drawing of the lips, as seen in these angels, we have the exaggeration of one of Foppa's characteristics, a trait noticeable in many of his works, beginning with the angels of the Noseda picture. But whereas in Foppa's work the lines are always full of vitality and expression, in the hands of this anonymous follower the type has degenerated into lifeless imitation devoid of all significance and character. ^ The figure on the hill, presumably intended to represent the shepherd receiving the annunciation of the Saviour's birth, seems also to be a palpably later addition replacing an earlier figure, and no doubt owes its origin to the era of restoration. Such a method of representation is altogether out of harmony with the feeling of a painter of the fifteenth or early sixteenth century.
iwio. THE .MAIJONNA AMJ CHILI), ST. BKNEDICT AM) ANGliLS (I'aiicl traiisffrred (o cairuas) VERSAILLES: COLLECTION OF M. LABBlt LEFfcvRE
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lA^ iti^n mf ^^°" > ^ )i I? '=' ^
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THIS EDITION
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^'^((Xti^£
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V\-M. BRENDON AND SON, LTD., PRINTE
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ERRATA Page 25, line 16 from above,
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X PREFACE views regarding a lost fr
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xii INTRODUCTION The year of Foppa'
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xiv INTRODUCTION remains to be give
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: : xvi BIBLIOGRAPHY: CONTENTS PAGE
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xviii PHOTOGRAVURES 13. The Martyrd
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XX BLACK AND WHITE ILLUSTRATIONS PA
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: xxii BLACK AND WHITE ILLUSTRATION
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VINCENZO FOPPA OF BRESCIA, FOUNDER
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— Chap. I. PAINTERS AT BRESCIA EA
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Chap. I. EARLIEST KNOWN WORK 5 The
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Chap. I. CONNECTION WITH THE SCHOOL
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THE MADONNA it C'.HIl.l) WITH iVNGE
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lo VINCENZO FOPPA were taught, and
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: Chap. I. JACOPO BELLINI'S FRESCO
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!»T^' o •J. o "H" 9 I ^ =3 y a -
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14 VINCENZO FOPPA phases of emotion
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Chap. I. THE CRUCIFIXION AT BERGAMO
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CRUCIFIXION AT BERGAMO 17 "M" ; the
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Chap. I. REMOVAL TO PAVIA c. 1456 1
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Chap. I. PAINTERS AT PAVIA IN 1456
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Chap. I. PAINTERS AT MILAN 23 at th
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Chap. I. FRESCOES OF THE ARENGO PAL
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: Chap. I. FIRST DOCUMENTARY NOTICE
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; Chap. I. AT GENOA, 1 46 29 Viscon
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Chap. I. WORK IN A CHAPEL AT GENOA
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Chap. II. ALTARPIECE FOR ABBOT OF M
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Chap. II. FRESCOES IN S. TOMMASO 35
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Chap. II. SUMMONED TO MILAN BY THE
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Chap. II. FRESCOES IN THE HOSPITAL,
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'•> Caimi, ; Chap. II. CANVASES O
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Chap. II. THE MEDICI BANK 43 latter
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Chap. II. THE MEDICI BANK 45 This p
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Cap. II. JUSTICE OF TRAJAN, DRAWING
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o o H D
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- — 50 VINCENZO FOPPA connection
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Chap. II. FRESCO AT HERTFORD HOUSE
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— « o ^1g S z o u
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54 VINCENZO FOPPA It is almost impo
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Chap. II. FRESCO AT HERTFORD HOUSE
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— CHAPTER III C. 1465—C. 1473 A
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Photo. THE TOMB OF ST. TETER MARTYR
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6o VINCENZO FOPPA Pazzi Chapel. The
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Chap. III. THE PORTINARI CHAPEL 6i
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A Ml) ROSE ST. A MIRACLE OE ST. PET
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Chap. III. THE PORTINARI CHAPEL 63
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Photo, THE ['RKACIIIXG OF ST. PETER
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Photo. THE DEATH ()E ST. PETEK ^t.\
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66 VINCENZO FOPPA may only have exe
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; Chap. III. THE PORTINARI CHAPEL 6
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— Chap. III. THE PORTINARI CHAPEL
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Chap. III. FOPPA'S BROTHER-IN-LAW 7
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Chap. III. FOPPA'S LETTER TO PIGELL
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Chap. III. THE CASTLES OF PAVIA AND
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Chap. III. FOPPA TAKES A HOUSE AT P
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Chap. III. FOPPA'S ALTARPIECE AT BR
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Phot TIIK MADONNA AND CHILD MILAN:
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82 VINCENZO FOPPA istic example, an
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Chap. III. MADONNA IN THE CASTELLO
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itoio. THK MADONNA AND CHILD MILAN:
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Chap. III. MADONNA, TRIVULZIO COLLE
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JOHNSON THE MAIWNNA & CHILD PHILADE
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88 VINCENZO FOPPA version. The earl
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; Chap. III. MADONNA, DAVIS COLL.,
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THE DEAD CHRIST IN THE TOMB AUDLING
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— CHAPTER IV 1473— c. 1477 Pain
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94 VINCENZO FOPPA ber 20, 1473/ Gad
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96 VINCENZO FOPPA evening of Novemb
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98 VINCENZO FOPPA height of each of
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loo VINCENZO FOPPA he does not spec
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I02 VINCENZO FOPPA of certain paint
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I04 VINCENZO FOPPA formerly kept .
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io6 VINCENZO FOPPA were being prepa
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io8 VINCENZO FOPPA a branch of his
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no VINCENZO FOPPA of the Relics, un
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112 VINCENZO FOPPA Bonifazio Bembo
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CHAPTER V Paintings c. 1470- 1480 T
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J J ClilLING FRESCO, DETAIL (Asaihe
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ii6 VINCENZO FOPPA addressed to all
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Chap. V. CEILING OF THE AVEROLDI CH
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THE MADONNA & CHILD WITH ANGELS. MI
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I20 VINCENZO FOPPA Foppa's altarpie
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ST. \IXCF.XT ST. ANTIIdW ok PADUA M
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— 122 VINCENZO FOPPA even to the
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^M^\>nlMv/s. Photo. ST. LOUIS OF TO
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124 VINCENZO FOPPA outline in the d
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Chap. V. BRERA ALTARPIECE 125 of hi
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z Q I w X H a. g
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128 VINCENZO FOPPA these saints are
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; Chap. V. ST. JEROME, BERGAMO GALL
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BERGAMO ST. JliROME flAI.LKRY (LOCH
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132 VINCENZO FOPPA this panel is un
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— CHAPTER VI c. 1478-1489 Foppa's
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THE ECCE HOMO IRAKIS CHKKAMY COLLEC
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136 VINCENZO FOPPA Barbagelata. We
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138 VINCENZO FOPPA Brescia are refe
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I40 VINCENZO FOPPA since he left th
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142 VINCENZO FOPPA of the Church in
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; Chap. VI. ST. SEBASTIAN, BRERA 14
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THE MARTYRDOM OF S'' SEBASTIAN fI'r
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— 146 VINCENZO FOPPA recognized B
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'•" The Chap. VI. ST. SEBASTIAN,
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Photo. THE MARTYRDOM OF ST. SEBASTI
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I50 VINCENZO FOPPA impossible, thou
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Chap. VI. FRESCOES FOR S. MARIA DEL
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ST. JOHN liAl'TIST (Fresco traiisfe
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— 154 VINCENZO FOPPA was to be he
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Chap. VI. ALTARPIECE FOR DORIA CHAP
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Pftoto. MILAN: Ermini, Milan A BISH
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Chap. VI. FRAGMENTS OF ALTARPIECES
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PliOla. GREGURV ST. BASLE: SARASIN-
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CHAPTER VII I 489- I 490 Foppa in L
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Pholo. Xoiti /,- /\iiîiit/ni THE M
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i62 VINCENZO FOPPA the two works fo
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Chap. VII. AN UNFINISHED ALTARPIECE
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'to. itncili, /ic'^âmo THE LOGGETT
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Chap. VII. FOPPA'S CONTRACT WITH GR
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Chap. VII. FRESCOES BY GIOV. PIETRO
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Chap. VII. FOPPA ORDERED TO RETURN
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Chap. VII. DISPUTE WITH BARTOLOMEO
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J'hotfl, Noaik-Paganini ALTAKl'IIXl
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174 VINCENZO FOPPA so much in many
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Chap. VII. ALTARPIECE, SAVONA 175 o
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OKATORY I'URTRAIT UF CARDINAL GIL'L
Page 328 and 329: — 1 78 VINCENZO FOPPA beneath the
Page 331: si O - o J) o > 1! o -• s ^ 3 =1
Page 334: i8o VINCENZO FOPPA Ratti in 1780 sa
Page 339 and 340: Chap. VII. ALTARPIECE, SAVONA i8i m
Page 341 and 342: Chap. VIII. OFFICIAL PAINTER TO BRE
Page 343 and 344: Chap. VIII. APPLIES FOR LEAVE TO RE
Page 345 and 346: Chap. VIII. FOPPA PAYS HIS "LIVELLO
Page 347 and 348: Chap. VIII. APPOINTMENT AT BRESCIA
Page 349: ^^^s?i-'s.^t-f^WPP^^ Y 1% JiîMue x
Page 352 and 353: 192 VINCENZO FOPPA allotted to them
Page 354 and 355: 194 VINCENZO FOPPA io6 lire, referr
Page 356 and 357: 196 VINCENZO FOPPA tell, but we kno
Page 359 and 360: Cap. VIII. THE PIETA, BERLIN 197 pa
Page 361 and 362: Chap. VIII. ROSSI CHAPEL, S. PIETRO
Page 363 and 364: Chap. VIII. THE ALTARPIECE OF THE R
Page 365 and 366: Chap. VIII. PI ETA, CERNUSCHI COLLE
Page 367: THE DEAD CHRIST IN THE TOM15, SUPPO
Page 370 and 371: 2o6 VINCENZO FOPPA The central grou
Page 373 and 374: Chap. VIII. ADORATION OF THE MAGI,
Page 375 and 376: Chap. VIII. ADORATION OF THE MAGI,
Page 377: Chap. VIII. ALTARPIECE, VERSAILLES
Page 382 and 383: 214 VINCENZO FOPPA formerly been de
Page 385 and 386: Chap. VIII. PROCESSIONAL BANNER, OR
Page 387: I'hoUi. Ca/'itaniii, Brescia vSS. S
Page 390 and 391: — CHAPTER IX 1499 TO c. 1515-1516
Page 392 and 393: 220 VINCENZO FOPPA master. We have
Page 394 and 395: 222 VINCENZO FOPPA 1 501.' This boo
Page 397 and 398: Chap. IX. FOPPA'S PAYMENTS FOR HIS
Page 399: i£Bg&ifiatsm Till!: SITH Ol-' I'Ol
Page 402 and 403: 226 VINCENZO FOPPA The list of Fopp
Page 405 and 406: Chap. IX. FOPPA'S ACCOUNTS 227 The
Page 407 and 408: Chap. IX. FOPPA'S DEATH AND BURIAL
Page 409 and 410: Chap. IX. POT.IZZA D'ESTIMO OF PAOL
Page 411: ,. I,' ..U-l [ ,. I ' ' > ( t C"8~~
Page 414 and 415: 234 VINCENZO FOPPA for the relative
Page 417 and 418: Chap. IX. SCHOOL PICTURES : CAMERA
Page 419: WSiW^ rhoto. TIU; MADONNA AM) CHILD
Page 422 and 423: 238 VINCENZO FOPPA hand, the type o
Page 425: J ^ < ^
Page 429 and 430:
Chap. IX. SCHOOL PICTURES: MILAN AN
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— Chap. IX. SCHOOL PICTURES: MILA
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I Jîa^&Jtl^Jm'] M 4 THE ENTOMBMKNT
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244 VINCENZO FOPPA again on p. 320
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246 VINCENZO FOPPA course unchecked
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248 VINCENZO FOPPA which, in spite
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Chap. X. CIVERCIIIO, BUTTINONE, ZEN
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ST. AMBROSE (By a folloxver of J'op
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ST. AiNTilUNY (.)¥ I'ADUA {By a fo
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252 VINCENZO FOPPA other works by t
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J'hoio. Bci traiui, Pijon THE MADON
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254 VINCENZO FOPPA beggar, from the
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Chap. X. LOMBARDO-MILANESE PICTURES
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Chap. X. INFLUENCE ON PIEDMONTESE P
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— Chap. X. INFLUENCE IN LIGURIA;
Page 469 and 470:
Chap. X. PAOLO ZOPPO & " V. FOPPA T
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; Chap. X. FERRAMOLA AND PAOLO CAYL
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Chap. X. CONCLUSION 265 heritage wh
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1 CHRONOLOGICAL LIST OF WORKS 267 A
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CATALOGUE OF WORKS 269 ITALY Arcore
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CATALOGUE OF WORKS 271 Savona : Gal
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LOST OR MISSING WORKS KNOWN TO HAVE
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LOST OR MISSING WORKS 275 Between 1
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APPENDIXES APPENDIX I Note i.— Vi
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APPENDIX I 279 On the other hand th
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APPENDIX I 281 history; Brescia was
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APPENDIX I 283 was born at Brescia
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— APPENDIX I 285 name " De Fopa"
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APPENDIX I 287 mentioned in the Cus
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APPENDIX II, A Documents relating t
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APPENDIX II, A 291 non ambigimus, t
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APPENDIX II, A 293 To Vinccnzo of B
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APPENDIX II, A 295 fuisse servanda.
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16. Foppa appears as a witness. APP
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APPENDIX II, A 299 deliberatione ch
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APPENDIX II, A 301 My Illustrious a
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APPENDIX II, A 303 Sancti Inventii,
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APPENDIX II, A 305 aminuire qualche
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APPENDIX II, A 307 Bonifacio de Bem
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Pavia. APPENDIX II, A 309 29. Lette
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APPENDIX II. A 311 et suprascriptum
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: APPENDIX II, A 313 in civitate Pa
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APPENDIX II, A 315 denaiiis numerat
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APPENDIX II, A 317 39. Dated Fresco
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APPENDIX II, A 319 in Palacio Comun
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APPENDIX II, A 321 si trovera male
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APPENDIX II, A 323 dictum magistrum
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APPENDIX II, A 325 55. The General
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APPENDIX II, A 327 per dominum Rain
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: APPENDIX II, A 329 67. A receipt
Page 539 and 540:
APPENDIX II, A 331 dominum Francisc
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APPENDIX II, A 333 Item per lo anno
Page 543 and 544:
APPENDIX II, A 6. It. numerati a mi
Page 545 and 546:
APPENDIX II, A 337 76. Foppa's acco
Page 547 and 548:
APPENDIX II, A 339 (Part II.) Debts
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83. Foppa's garden sold by his heir
Page 551 and 552:
. APPENDIX II, B 343 affirm that th
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APPENDIX II, B 345 same place and i
Page 555 and 556:
APPENDIX II, B 347 14. Evangelista
Page 557 and 558:
MANUSCRIPTS REFERRED TO IN THE TEXT
Page 559 and 560:
Page 561 and 562:
Page 563 and 564:
Page 565 and 566:
Page 567 and 568:
BOOKS AND PERIODICALS REFERRED TO I
Page 569 and 570:
BOOKS ETC. REFERRED TO IN THE TEXT
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Page 573 and 574:
Page 575 and 576:
Page 577 and 578:
Page 579 and 580:
Page 581 and 582:
Page 583:
POSTSCRIPT While the last proofs of
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: : : INDEX OF PLACES, I Where exis
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— : : : Frankfurt a/M con. Staede
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: : : : : : : INDEX OF PLACES, I 38
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: INDEX OF PLACES, I 385 Venice. Ac
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: 1: Foppa, 153, 154 : : INDEX OF P
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: ' : : : (see : INDEX OF PLACES, I
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GENERAL INDEX Abate, A., 353, 359 A
Page 601 and 602:
GENERAL INDEX 393 Averoldi, Giulio
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GENERAL INDEX 395 Bossi, Girolamo,
Page 605 and 606:
GENERAL INDEX 397 Buttinone, Bernar
Page 607 and 608:
GENERAL INDEX 399 Caylina, Pasquina
Page 609 and 610:
GENERAL INDEX 401 Doria, Stefano, p
Page 611 and 612:
GENERAL INDEX 403 Foppa, Vincenzo,
Page 613 and 614:
—— — — — — GENERAL INDE
Page 615 and 616:
GENERAL INDEX 407 Frizzoni, Dr. G.,
Page 617 and 618:
GENERAL INDEX 409 S. Invenzio, Hosp
Page 619 and 620:
GENERAL INDEX 411 Mangano, Torre de
Page 621 and 622:
GENERAL INDEX 413 Moiraghi, Don Pie
Page 623 and 624:
• Statutes GENERAL INDEX 4T5 Pavi
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, GENERAL INDEX 417 Sartori, Pia (a
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GENERAL INDEX 419 S. Tommaso, Pavia
Page 629:
GENERAL INDEX 421 Zenoni da Vaprio,
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: : : "A MONUMENTAL WORK" HUBERT &
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I J IBHAICic./^ ^x^.u,..v.^wy^- ,
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Vincenzo Foppa of Brescia, founder of the Lombard school, his life ...

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