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

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—<br />

CHAPTER IX<br />

1499 TO c. 1515-1516<br />

Last Pavian records relating to <strong>Foppa</strong>—Documents referring to him at <strong>Brescia</strong>—The<br />

quarters <strong>of</strong> <strong>the</strong> city—The Archives <strong>of</strong> S. Alessandro— Identity <strong>of</strong> <strong>Foppa</strong> with <strong>the</strong> son<br />

<strong>of</strong> Giov. da Bagnolo—<strong>Foppa</strong>'s house— " Livello " to <strong>the</strong> Administrators <strong>of</strong> <strong>the</strong> quarter—<br />

Position <strong>of</strong> <strong>Foppa</strong>'s house— <strong>Foppa</strong>'s accounts— P. CayHna—<strong>Foppa</strong>'s death<br />

— Burial—Will—Tombstone—Origin <strong>of</strong> <strong>the</strong> mistake relating to date <strong>of</strong> <strong>his</strong> death<br />

Polizza d' Estimo <strong>of</strong> Paolo Caylina—Works wrongly ascribed to <strong>Foppa</strong> : Camera di<br />

Commercio, <strong>Brescia</strong>— Poldi, Milan—Crespi Collection—Verona Museum—Brera,<br />

Milan—Gallery <strong>of</strong> <strong>the</strong> Academy <strong>of</strong> Painting, Pavia—Borromeo Collection, Milan<br />

— Sessa Collection—Casa Castani and Cologna Collection, Milan— Late Cernuschi<br />

Collection—Malaspina Gallery, Pavia— Ravicsz Collection—The Betrayal by Parentino<br />

(Borromeo Collection, Milan)—Drawings ascribed to <strong>Foppa</strong> : Frankfurt<br />

Berlin— London.<br />

We have now reached <strong>the</strong> final stage in our painter's career, and must once<br />

more turn to <strong>the</strong> documents in Appendix II as our only source <strong>of</strong> information<br />

touching <strong>the</strong> last decades <strong>of</strong> <strong>his</strong> <strong>life</strong> ; but Pavian and <strong>Brescia</strong>n records here<br />

overlap one ano<strong>the</strong>r, and we have thought it best for clearness sake first to<br />

give <strong>the</strong> results <strong>of</strong> research in <strong>the</strong> Archives <strong>of</strong> Pavia and <strong>the</strong>n to touch upon<br />

<strong>the</strong> documents found at <strong>Brescia</strong>.<br />

After December 13, 1499, on which day, as we saw, <strong>Foppa</strong> was paid in <strong>the</strong><br />

Audience Hall <strong>of</strong> <strong>the</strong> Episcopal Palace at Pavia for <strong>his</strong> altarpiece for S. Maria<br />

that city.<br />

Gualtieri, we have no fur<strong>the</strong>r record proving <strong>his</strong> personal presence in<br />

He kept up <strong>his</strong> connection with Pavia in matters <strong>of</strong> business, but apparently<br />

empowered o<strong>the</strong>rs to act for him, and never came <strong>the</strong>re himself. Thus in<br />

November, 1500 and 1501, <strong>the</strong> "livello" for <strong>his</strong> house was paid to <strong>the</strong> Administrator<br />

<strong>of</strong> <strong>the</strong> hospital not by <strong>Foppa</strong> himself in person, but by <strong>his</strong> representative<br />

Crist<strong>of</strong>oro Gazzaniga, whose friendship with <strong>the</strong> painter, to which we<br />

have several times had occasion to allude, was doubtless due in <strong>the</strong> first<br />

instance to <strong>the</strong> fact <strong>of</strong> <strong>the</strong>ir having been near neighbours in <strong>the</strong> parish <strong>of</strong><br />

S. Invenzio.<br />

O<strong>the</strong>r representatives <strong>of</strong> <strong>Foppa</strong>, who might almost be termed <strong>his</strong><br />

at Pavia, were <strong>the</strong> bro<strong>the</strong>rs Leggi,' belonging to a noble Pavian family,<br />

agents<br />

many<br />

^<br />

See Appendix 11, B, Nos. 7, g, 10.<br />

218

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