Vincenzio Foppa, said by Ridolfi to have flourished about the year 1407, is esteemed almost the founder of the Milanese School, in which he distinguished himself during the sovereignty of Filippo Visconti, and that of Francesco Sforza. I alluded to his name in the Venetian School, to which he is referable from his being of Brescia, whatever Lomazzo may on the other hand contend. It is my wish to avoid all questions of nationality, and the compendious method of my work will be a sufficient apology in this respect, more particularly as far as relates to the names of less celebrated artists. But with the head of a school, such as Foppa, I cannot consider it a loss of time to investigate his real country, in particular as the elucidation of many confused and doubtful points in the history of the art is found to depend upon this. In Vasari's Life of Scarpaccia we find it mentioned, that about the middle of the century "Vincenzio, a Brescian painter, was held in high repute, as it is recounted by Filarete." And in the life of this excellent architect, as well as in that of Michelozzo, he says, that in some of their buildings, erected under Duke Francesco, Vincenzo di Zoppa (read Foppa), a Lombard artist, painted the interior, "as no better master was to be met with in the surrounding states." Now that there was a Vincenzo, a Brescian artist, who then and subsequently flourished, and who ranked among the best artists, is proved by Ambrogio Calepino, in his ancient edition of 1505, at the word _pingo_. There, after having applauded Mantegna beyond all other artists of his age, he adds:--_Huic accedunt Jo. Bellinus Venetus, Leonardus Florentinus, et Vincentius Brixianus, excellentissimo ingenio homines, ut qui cum omni antiquitate de picturâ possint contendere._ After so high a testimony to his merits, written, if I mistake not, while Foppa was still living, though edited after his decease, (as we noticed from the eulogy written by Boschini on Ridolfi, in its proper place); let us next attend to that found on his monument in the first cloister of S. Barnaba at Brescia, which runs as follows:--_Excellentiss. ac. eximii. pictoris. Vincentii. de. Foppis. ci. Br. 1492._ (Zamb. p. 32.) To these testimonials I may add that from the hand of the author, which I discovered in the Carrara Gallery at Bergamo, where, on a small ancient picture, conducted with much care, and a singular study of foreshortening, extremely rare for the period, representing Christ crucified between the two Thieves, is written:--_Vincentius Brixiensis fecit, 1455._--What proof more manifest can be required for the identity of one and the same painter, recorded by various authors with so much contradiction with regard to name, country, and age?