Page:Bryan's dictionary of painters and engravers, volume 1.djvu/368

 had been copied by Giulio Campi, he determined to change his pursuit, and to study painting under his relative. He remained with Giulio some time, but afterwards went to Mantua, where he frequented the school of Ippolito Costa. Before lie had reached his twentieth year he had already exhibited considerable pre-eminence in art. He studied the works of Giulio Romano, Titian, Correggio, and Raphael, and aimed at combining the individual excellences of those masters in a style of his own. Hia great work in the cupola of San Sigismondo bears evident trace of his having greatly profited by his acquaintance with the works of Correggio. He has here represented the assemblage of the saints and blessed of the Old and New Testament, each with their appropriate symbols. This work is of stupendous dimensions, and though the figures are seven braccia in height, such is his judicious management of the point of view that they only appear to be the size of nature. He completed this great work in the surprisingly short period of seven months. Other examples of his work are to be seen at Milan, Pavia, and Piacenza. In 1584 he published a work on painting. He had several pupils, among whom was Sofonisba Anguisoiola. He died at Keggio about 1592, and was buried in the church of San Prospero, where he left some unfinished frescoes. The following of his paintings are preserved :

Cremona. S. Sigismondo. St. Cecilia ; St. Catharine ; the Prophets ; Children — frescoes {cupola of choir). „ S. Domeuico. The Nativity. Milan. Brcra. Descent from the Cross. Paris, Louvre. Mater Dolorosa.

CAMPI, Galkazzo, was born at Cremona about 1476, and died there in 1536. He appears to have been a pupil of Boccaccino. Paintings by him are to be found in the churches of San Sigismondo, San Sebastiano, and Sant' Agata, in Cremona. A curi- ous painting dated by him 1515, and representing ' The Resurrection of Lazarus,' with Christ and the apostles Peter and Paul on one side of the grave, whilst Lazarus the beggar with two dogs stands on the other side, and formerly in the church of San Lazzftro, Cremona, is now in the possession of Canon Bignami, at Castel Maggiore. His are also:

Cremona. Palazzo. Clirist in Benediction. „ Mimicipio. Virgin and Child, witl] three Saints. Florence. Gallery, His own Portrait.

CAMPI, Giulio, the eldest son of Galeazzo Campii, was born at Cremona in 1500. In 1522 he was studying under Giulio Romano at Mantua as an architect and modeller, but he afterwards studied painting from the various old masters. His earliest work in Cremona was four large pictures representing ' The Martyrdom of St. Agatha,' which are in the churcli of Sant' Agata. He next painted for the high altar of the church of San Sigismondo, outside Cremona, a votive altar-piece, representing 'The Virgin and Child, with Saints,' and the figures of Count Francesco Sforza and Bianca Maria Visconti. This picture has been en- graved by Ghisi. In 1527 he painted the altar- piece of ' The Virgin and Child, with SS. Celsus and Nazarus,' for the church of Sant' Abbondio. This is his finest work, and is characterized by a faithful rendering of the colouring of the Venetian school. He decorated the council-chamber of Brescia with eight large frescoes representing 'The Labours of Hercules, which have likewise been engraved by Ghisi. His constant aim seems to have been to secure a free handling in his drawing, a principle he learnt from Giulio Romano, and to combine with it the feeling of Correggio and the colouring of Titian and Pordenone. Milan, Cremona, and Mantua, all possess paintings by him. He died in 1572. Noticeable among his works are :

Cremona. iS. Margherita. Several altar-pieces and frescoes. „ jS. Sigisinondo. Descent from the Cross. Mantua. *S'. Gtrolamo The frescoes in the Cupola.

CAMPI, ViNCENZO, the third son of Galeazzo Campi, was born at Cremona before 1532, and received instruction from his brother Giulio. He worked constantly in conjunction with his brothers, and his colouring very much resembles that of those artists, but his design was much poorer. One of his best performances is considered to be ' The Descent from the Cross,' in the cathedral at Cremona, but his chief merit was in painting portraits and still-life. In 1583 he joined his brother Antonio in a visit to Spain, where they both worked for Philip II. at the Escorial. Hia death occurred in 1591. Two pictures by him — one a Woman with fish, the other a Woman with fruit — are in the Brera at Milan.

CAMPIDOGLIO, II. See Pace, Michelangelo. CAMPIGLIA, Giovanni Domenico, an Italian painter and engraver, was born at Lucca in 1692. He studied at Florence under Tomraaso Redi and Lorenzo del Moro, and at Bologna attended the school of Giosefl:'o dal Sole. He painted some his- torical subjects at Florence, and several portraits, among which was his own, which is placed in the Gallery. He particularly excelled in drawing after the antique marbles, and was much employed at Rome and Florence in making drawings for the engravers. According to Nagler he died in 1768. He etched several plates after ids own designs, and among others the following portraits of artists :

Giovanni Domeuico Campiglia. Giovanni lorenzo Bernini. Giulio liomano. Salvator Rosa. Leonardo da Vinci. Giovanni Antonio Bazzi.

CAMPILIUS, BERNAltDINO, was a very inferior follower of Ln Spagna at Spoleto. His name is written beneath a fresco of ' The Virgin adoring the Infant,' on the Piazza San Gregorio, at Spoleto, and bears the date of 1502. No further information can be given of his birth or death.

CAMPIN, Robert, 137.5— April 26, 1444. It is not known where he was born or where he learned his art, but he was already a free master in 1406, in which year he painted a picture for the widow of the sculptor James Braibant. He acquired the right of citizenship by purchase on December 29, 1410. His wife, Elisabeth de Stochem, was seven years his senior. His conduct was by no means edifying. In 1428 he was fined 20i., sentenced to make a pilgrimage to Saint Giles, and debarred from holding any civic office. In July 1432 he was banished from the city for a year on account of his dissolute life, but at the interces.sion of Jacqualine of Bavaria, Countess of Hainault, this was on October 26 commuted to a fine of SOs. Notwithstanding all this, he was constantly employed by the municipal authorities on mural and decorative paintings. In 1428 he executed a