CAMPANA
221
CAMPANELLA
dame Campan in the first volume of her memoirs; D'Aubier,
Obtervationt sur lea memoires de Mme Campan (Paris, 1823).
Louis N. Delamakre.
Campana, Pedro, Flemish painter, known in France as Pierre de Champagne, and in Brussels as Pieter de Kempeneer (his actual name), or, as trans- lated into Flemish, Van de Velde, b. at Brussels in 1503; d. there in 1580, after spending the greater part of his life in Spain. He is said to have been a pupil of Raphael, but it is exceedingly doubtful whether this was the case. In his early days ho spent some time in Italy, especially in Venice, Rome, and Bologna, and studied very closely the paintings of Raphael. In 1530 he decorated the triumphal arch erected at Bologna for the coronation of Charles V. Under the protection of Cardinal Grimani he went to Spain, sojourned in Seville between 1537 and 1552, and there established a school of painting in conjunction with Louis de Vergas and the Italian sculptor Torrigiano. This school eventually became an academy and numbered among its pupils the illustrious Morales. Campaiia's masterpiece is the "Descent from the Cross", painted in 1548 for the church of Santa Cruz and removed to the Seville cathe- dral when the former church was destroyed. This painting was enthusiastically admired by Murillo, who highly appreciated its life-like qualities and desired to be buried below the picture. There are two other paintings by Campana in the same cathe- dral and important works at Carmoiia and Triana. Campana returned to Brussels about 1564.
His pictures were all painted on panel, and are irreproachable in accurate draftsmanship, admirable in composition, and vigorous in execution. The luminous quality of their colour-scheme recalls the best Italian work, and the finest, paintings are dig- nified and life-like, full of strength and power. There are live of his best pictures in the churches of Seville, and his work can also be studied in Berlin and Paris.
Bryan. Diet, of Painter* anil Engravers (London — New York, 1903); Conway, Flemish Painters: Bebmddez, Diccionario Hxt.Tico (Madrid, 1800); Busc, Hisloire des Fein/res (Pans. IS,', 4'; Gestoso, Diccionario de Artistas (Madrid, s. d.); Hartley, Spanish Painting (London, 1904).
George Charles Williamson.
Campanella, Tommaso (baptized Giovanni Dome- nico), Dominican philosopher and writer, b. 5 Sept., 1568, at Stilo in the province of Calabria, Italy; d. at Paris, 21 May, 16.39. He was a facile writer of prose and verse at the age of thirteen, and when not yet fifteen entered the Dominican Order, attracted by the fame of Albert the Great and Thomas Aquinas. With a predilection for philosophical inquiry, he was sent to different convents to hear the best masters. Campanella wrote his first work, "Philosophia sensibus demonstrata" (Naples, 1590) in defence of the naturalistic philosopher Bernardino Telesio. He next went to Rome and afterwards to the Uni- versity of Padua, from Oct., 1592, to the end of 1.594. An ardent and somewhat captious temperament led him into the expression of views offensive to many of the older and newer schools alike. He was es- pecially vigorous in his opposition to the authority of Aristotle, and was cited before the Holy Office at Rome, where he was detained till 1597. Some accounts speak of his having been accused of magic and of his fleeing to Florence, Venice, Padua, and Bologna, thence back to Naples and Stilo. Con- tinuing to lecture and write, however, he retained favour in certain circles. At length, in ^■):i.. 1599, he was seized as the head of a conspiracy against (he Spanish rule. In the trial at Naples, involving many persons, lay and ecclesiastical, he was charged with divers heresies and with aiming to set up a com- munistic commonwealth. Arraigned before an ec- clesiastical tribunal, he was at the same time har- assed and put to torture by a political court. On
8 Jan., 1603, he was sentenced to perpetual imprison-
ment. Among several who sought to obtain his
liberation was Pope Paul V. In the meantime the
viceroy, Giron, who used to visit Campanella in
prison, seeking his counsel about matters of state,
became involved in trouble. In his endeavours to
extricate himself he laid the blame largely on Cam-
panella, who was again subjected to many indignities.
Through Pope Urban VIII, who applied directly to
Philip IV of Spain, the unfortunate prisoner was at
last, released from his Neapolitan captivity, 15 May,
1626, an event which was commemorated by Gabriel
Naude in his " Panegyricus" (Paris, 1644). He was
taken to Rome and held for a time by the Holy
Office, but was restored to full liberty, 6 April, 1629.
In 1634 another Calabrian conspiracy under one of
Campanula's followers threatened fresh complica-
tions. With the aid of Cardinal Barberini and the
French ambassador, De Noailles, Campanella, dis-
guised as a Minim, withdrew to France. Louis NIII
and Richelieu received him with marked favour, the
latter granting him a liberal pension. He spent the
rest of his days, enjoying papal favour, in the Domini-
can convent of St-Honore at Paris.
Of the life and character of Campanella, conflicting estimates are given. He was well thought of by Popes Clement VIII, Paul V, and Urban VIII. Cardinal Pallavicini declared him a "man who had read all things and who remembered all things; of mighty but indomitable character." In faith and theological allegiance he was held above suspicion by Juan De Lugo, afterwards cardinal ; Theophile Raynaud considered him heretical. Vincent Baron, O. P., who knew him well, gave a careful eulogy of him as skilled in mathematics, astrology, medicine, and other sciences; more famous, perhaps, than he deserved to be, but still a man of extraordinary gifts. John Addington Symonds, who translated a book of his sonnets (Sonnets of Michael Angelo Buonarotti and Tommaso Campanella, London, 1878). refers to him as the "audacious Titan of the modern age, possessing essentially a combative intellect; a poet and philosopher militant, who stood alone making war upon the authority of Aristotle in science, of Machiavelli in statecraft, and of Petrarch in art". His tmnquam tacebo is evidenced in almost every act and utterance of his strange career. Campanella's work is critical and composite rather than construc- tive and original. It exhibits an almost encyclopedic acquaintance with all the known sciences of his day. His doctrine does not form a system, but discloses a syncretic adaptation of certain fundamental prin- ciples of St. Thomas Aquinas and Albert the Great, modified by original opinions and fused with ideas, often unsound and bizarre, borrowed from Pytha- goras, riato, Aristotle, Zeno, Empedocles, the Christian mystics, and the Jewish and Arabic schools of thought. He aimed to reconstruct scholastic philosophy, but, lacking grasp and depth, his judg- ment was often obscured by an untempered imagina- tion, and his writings, of widest scope, abound in the inequalities of undisciplined genius. With the fond- ness of the Renaissance for disputation and innova- tion, he was also singularly swayed by the popular pseudo-science of judicial astrology. Unlike Bruno, however, he remained loyal to his order and to the Church.
In his thcologico-cosmological theory, being, both created and Divine, is invested with three primordial properties: power, wisdom, and love. Non-being is characterized by impotence, darkness, and odium or metaphysical aversion. In God, Who is pure being, simple and infinite, the three properties of being exist, and subsist in simplest unity to the abso- lute exclusion of non-being and its attributes. Crea- tures participate in Gods wisdom, power, and love; but, because derived from nothingness, their essence
