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

Chap. I. WORK
IN A CHAPEL AT GENOA 31
execute paintings in the chapel, though AHzeri and Moiraghi cast doubts
upon this point.' From the evidence of the documents it is certain that
Foppa began to paint the chapel in April, and resumed work on his return to
Genoa with the Duke's letter of recommendation. That he was still working
in that city on September 15 of the same year we know ; for on that day he,
with Bernardo Re and Ottobuono d' Annone, "painters in Genoa" as they
are designated, settled a dispute between Gaspare dell' Acqua- (Foppa's
surety in his first dealings with the priors), and his assistant Giovanni de'
Gazo (Doc. No. 5). From a record of May 10, 1463, we know that at that
date an admirable representation of the Almighty had been executed on the
ceiling of the chapel. In this document Giovanni Mazone, a Piedmontese
painter living at Genoa, agreed to paint an altarpiece for the chapel which
was to equal, or if possible to surpass, the representation of the Almighty
"existing on the ceiling (supra troinani) of the aforesaid Chapel of St. John
Baptist."^ Troina (called also truina) is a term met with in fifteenth century
documents to describe a vaulted roof or ceiling. It is clear, therefore, that
Foppa did fulfil his contract to paint the chapel "in coelo," and that it was
this work which he began in April and probably finished towards the end of
the year. The rest of the paintings in this chapel, which according to the document
were to be "in facie," appear to have been executed at a later date.
'
Alizeri, op. cif., while apparently admitting it in two paragraphs (I, 356, and II,
22), leaves us in doubt as to his opinion in another (IV, 257).
2 Gaspare dell' Acqua, a native of Lodi, had enjoyed a great reputation at Genoa
from 1460 onwards ; a member of the Painters' Guild there, his name is first on the list of
decorative artists, and he was constantly employed in adorning and beautifying the
palaces of Genoese nobles. The cassoiii produced in his workshop, where he employed
numerous assistants, were in great request.
^ " Quod dicta Majestas sit ita pulcerima et dives ac bene laborata, quod dici possit in
similitudine, et melius si esse potest, ymaginis Dei Patris existentis supra troinam
capellae predicts sancti Johannis Baptistae." (That the said Majesty be so beautiful, rich,
and well executed that it might be equal to, or if possible better than, the representation
of the Eternal Father on the ceiling of the aforesaid Chapel of St. John Baptist.)
Atiz., II, 23, Atti del Not. Tommaso Duracino, Fogliaz. 7, 1463.
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