Maria Maddalena in 1472, but had returned to Milan by 1473. Several surviving Madonnas were likely completed around this period, or at some point in the 1460s. Some of these paintings are made to look almost like reliefs or sculptures, exhibiting the influence that sculptors such as Donatello. Pavia In 1474, Foppa collaborated with Zanetto Bugatto and Bonifacio Bembo on an ambitious altarpiece for the Castello of Pavia, but work on the project was halted when Galeazzo Sforza was murdered in 1476. Some surviving panels have been speculated to be part of this Castello project. The trio also worked on various other commissions in Pavia. Foppa completed several ecclesiastical works during the latter part of the decade, including a number of works featuring the Virgin and Child. Foppa became renowned for these Virgin and Child works, which he continued to produce in the 1480s and for the rest of his career. Many of these pieces are nearly identically composed: Mary holding the baby Jesus in front of a curtain, landscape, or other similar background. Vincenzo did a number of works for Santa Maria di Brera in Milan, including a polyptych titled Virgin and Child with Saints finished around 1476 and a fresco titled Virgin and Child with Saints John the Baptist and John the Evangelist dated 1485. At Santa Maria di Brera he also completed a fresco of Saint Sebastian, a subject whom Foppa painted several times during the decade. By 1486, Foppa had completed the Bottigella Altarpiece in Pavia Civic Museums, which depicted Silvestro Bottigella and his wife genuflect in front of the Virgin Mary. Later Years By 1489, Foppa was back to Liguria, completing a since-destroyed altarpiece for the Doria Chapel of the Certosa di Rivarola near Genoa in February. The following year Foppa completed another altarpiece, this one for the oratory of Santa Maria di Castello in Savona. This work was commissioned by Giuliano della Rovere, a recurring patron of Foppa during his time spent in Savona. In 1490, Foppa was granted a yearly allowance of 100 lire by Brescia in exchange for continued artistic contributions to the city, marking his return home. In the same year he frescoed the central Loggetta of the town. He continued to work painting numerous devotional works during his remaining years, which he spent largely in his native Brescia as well as Pavia. His latest known work is dated 1514, and