The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-04-09

acquiring tbetr ouo recohmhoh, N1e'
iying Milan offered him q fuFtSeT neld for
dist in~tiO ION, but nevertheless commissions
do not seem 10 have Taihed upon him With
tho rapi,iity for which he had hoped. since
in eos We lDJ him In ttsnOA. hardly ine''a
OI painters. euRase,l upon the adorh"i"ui
Of a chanel IN Ihs cathedral Of that city
Returning to Pavia. fOppa -eeEn- to have
been more actively employed. shd among
other things 10 have had EOOdly share
in the decoration Of the famous Med"'
bank. then len tie hands % PgellO PorttnAri
Of ali these works. however. nothing now
remains unless We NAV accept a. really
hi- the charming fragm~ntary fre~ro known
A. -t!Ian Cialsazzo afoFSA Reading Cicero.
paw In the Wallace collection.
Foppa seems now TO have become
regular resident Of PAvia. whore he kept
an open shop ar studio Whether or not
he De the author Of the we'll known fre@coes
IN the POrtinAri Chspel Of SAINT Eaist OrR1O
A. Milan has long been . question among
cFttlcs Miss FtOulkes and Mgr Mahcehl
40 Inclined 10 -ss In Ibere paintings the
work ~ variO,Is hands RRd give 70 FOppa
himself With certainty Onlv three OF me
medallion ngures Of the Fathers OF The
Church There ApI'saTs little reason Ia
doubt that the whole mural decoration OF
the chapel. " not entirely due 10 Nincenyo'S
own hand vas az least carried OUT under
HE direct supervision ami after his own
designs Certain pscuiariiie@ 81 coufpo-'
tian a. we'll a. Of types. whera these arr not
entirely changed bv later restoration. teEAi
to confirm this conclusion
The next few years OF FoppA's activity
are marked rather by documents than
by any existing authenticated works. ln
i.7l h. was again In Genoa. In the following
year he furnishsNi q long lost altar ptese
for the Church Of SANTA Maria Maddalena
In hts native town OF Brescla: I'm It53 he I
"a. al Milan. Unfortunately the doubt
nII- and damaged frescOes Of the PortinaEt
,hapeI are virtually all that remain TO us
Il FOppas more AMBITION and important
eTvorts during this earlier half 20 hts career
and We are Obliged 80 fall back upon n
KTonp % smaller panel pictures. Tor Ihe
most part Representations Of tho NirghA
aud child. for an estimate of hts style AZ
this time and more eSI'ecially during the
decads from ecu TO It7O. To the latter
period doubtless belong the highly charae-
teriaiir Madonnas ot the MuseO CivicO nc
Milan OF the Berlin 0allery. OF Mr.. Beren-
sons collection AZ SettignanO and Of the
TriNulziO collection AZ Milan. In all these
works We hnd that peculiar combination
81 severity aud grace. 81 dignity and hoTnely
realism which ~ the predominant featuAe
of FOppas art 49, well ~ the principal
secret OF his attraction The remarkable
xcrilpturesdue quality Of some Of these
works. and e-ps.ciaIly of the Madonna
of the MuseO Civico n Milan. has led crit
i's TO ind IN tho pictures the sViieBre Of
DoRAisliO'S influence
Two other Madonna pictures. tho~e in
the COLLECTIONS Of Mr. johnson NJ Phila-
,Ielphia ami Of Mr. Theodore Davis at
: export u. are PERHAPS less known
To the majority OF students than are those
mentioned above Roth are attributed tn
a somew hat later date. Mr.. DavIs's pie
ture ESPECIALLY v OF particular Interest IN
- marked dsviatiOns from fOppa's usual
type-. The evident ininen"e of the Iellini
la 'hi- panel ~ nOti'eahle. hut rather than
that oI Giovanni oRe y inclined 70 .es in
u a late rst-stion Of the forms aud types Of
.aCOpo
Between Is7S and it77 viRcenzo was
Engaged. among other things. upon tho
remarkable an,Ona bich CialeayyO sfOrza
had planned Tor The reception Of his famous
CollsCtiOn Of relics IN the chapel Of the
astelio At PaViA This work Was evidently
left unfinished a. GalsazSO- death and no
races VI 1t have been idsRiinsd. To THE
same peTiod belongs the large alfarpie~e
nov in the BTsrA 81 Milan and once IN the
'huTCh Of ~ Maria dele GraRie ~ B~r-
xAno The panel &C ~ Francis receiving
the Sfi Rmais by NhirbH i-nOw surmountesi
msv veil belong to Inc same spo~h - the
altaTplsce itself bur u was originally in
work
I've l.7s Foppa vaS working again IN
Gsnoa. among his patrons At this time
being he SpinOla family How long he
remained In The great seaport " - difrOilf
10 kuos 10 any 'aSe he -s.s'ns 10 have
ll,.-n Da,E ~ Milan -oOn after iss2 aud TO
hay- been bu-iiy engaged there Tor some
ttmc The frees Of The Virgin and child
VITA saints II the wear itNs. noW IN the
Brera. ant probably The MnTtNrdom Of
- Sebastian ~ The same COllsst ION belong
to his period of hi- career and show has
-tyIe a. tho broa,~-t point Of its develop
rusnt Blr The MartyrIom Of ~ Seba--
iln also shows FOppa's occasional weak
n~-s..a a. = composer and his limited power
Of expressing violent movement
In It-7 FOppa seems again 70 have crossed
the mountains 10 Genoa and soon sitter to
have painted tho altarpieCe 81 santa Marta
~ IOTeto a. ~gVOna. now In a damaged
condition In the civic Gallery Of that city
A. s~iI a. second altarpiecs for santa
Maria del CASTILLO. lie also began and left
unfinished a third polyptyCh for the Cathe-
dral of savona. a work vhich COM
pleted nv hts little known but Interest ing
follower and assistant. Brea ia Nizza Bv
IsaO a. the latest Foppa seems TO have been
Once again IN his native city. Infortu-
natelv the paintings with which he then
adorned the loEKia 81 the Broletto ~ Brs-cia
have shared the fate Ot most of hts other
frescOe- and have long since perished
Here in the last deCa AIDES Of his activity a.
in the beginning We are forced to Judge
him almost entirely by his panel lectures
which though comparatively few In num-
her are still TOO numerous for Va TO name
~ detail here
Foppa's death j. proved 90 have taken
place hot ecu the spTins Of 1875 and the
autumn of 1919 date by some wears later
d fnTmRFIN a.