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fully a fifth part of it is probably not his work. The poems that may with certainty be ascribed to him follow, as has been said, the Petrarchian model. They comprise sonnets, odes, elegies, eclogues, catifdes, redondilhas, and the like, and in sentiment reflect the moods and passions of the poet's mind and heart throughout the periods of his varied and ill-starred life. He produced three comedies in verse, which are of decided merit as compared with the pieces hitherto written in Portuguese, but yet show no transcendent powers as a dramatist on his part. One of them, the "Filodemo", gives scenic setting to the plot of a medieval story of love and adventurous travel; another, the " Rei Seleuco", takes up a love episode in the life of the Syrian King Seleucus and his son Antiochus, which had been narrated by Plutarch and treated by Petrarch and many other poets; the third and best of all, the "Enfatrioes" (or " Amphitryoes"), is a free and attractive rendering of the "Amphitruo" of Plautus. Os Lusiadas, ed. von Reinhardstottner (Strasburg, 1874); Os Lusiadas, ed. Braga (Lisbon, 189S), a photolithographic reproduction of the edition of Lisbon, 1572; Os Lusiadas de Loys de Camoes, co todas as lice'cas necessarias, cm Lisboa por Pedro Crasbeeck, Impressor del Rey, An. 1626, a facsimile from a copy in the library of A. Huntington, New York (De Vinne I'ri's.<, l'.HWi; Os Lusiadas, tr. into English verse by Aubertin (2 vols., London, 1878); The Lusiad, tr. Mickle (London, 1809); The Lusiad, Books I-V, tr. Quillinan (London, 1853); Os Lusiadas, tr. Burton (London, 1880); Camoes' Lyricks, tr. Burton (London, 1SS4); Strangforo, Poems from the Por- tuguese of L. de C. (4th ed., London and Philadelphia, 1805); Adamson, Memoirs of the Life and Writings of L. de C. (2 vols., London, 1S20); Shelley, Lives of the Most Eminent Literary and Sen tit, fie Men, etc. (London, 1835), III, 295 sq.; Braga. Bibliographia Camoniana (Lisbon, 1SS0); de Brito Aranha in DA Silva, Diccionario bibl. portuguez (1SS6), s. V. L. de C; Almeida-Garrett, Camoens (7th ed.. Oporto, 1880); de Petris. 11 Petrarca nelle liriche del Camoens, saggio critico (Atri, 1906); von Reinhardstottner, Die plautinischen Lustsinele in sptiteren Bearbeitungen, I, Amphitruo (Leipzig, 1SS0); he Vasconcellos, L. de C, in Gkodf.h, (h-undriss der romaiii.ch.ii Phdologie (Strasburg, 1S97), II, Part 2, s. v. L.deC.

J. D. M. Ford.

Campagna, Diocese of. See Conza.

Campagna, Girolamo, b. in Verona, 1552; d. about 1623 or 1625. He was an able, but not strik- ingly individual sculptor of Northern Italy. He studied under Jacopo Sansovino and Danese Cattaneo, and completed many of the latter's works. To him we owe the figure of Doge Leonardo Loredano on the tomb which Cattaneo made at SS. Giovanni e Paolo, Venice. After his master's death, Campagna went to Padua where he secured the commission intended for Cattaneo in the church of St. Anthony. This was his masterpiece, a bas-relief of the saint bringing back to life a man who had been murdered. Some years later Campagna made another trip to Padua and wrought the bronze tabernacle for the chapel of the Blessed Sacrament. The greater part of his life was spent in Venice, and there we have the ma- jority of his works: the statues of St. Francis and St. Clare bearing the ostensorium at Santa Maria de'Miracoli; that of St. Giustina over the door of the Arsenal, commemorating the battle of Lepanto, which occurred on her feast-day (7 October. 1571), during Campagna's lifetime; tin' colossal Si. Sebastian at the Zecca; the figures of < >ur Lady, the Archangel Gabriel and patron saints of Venice, in relief on the Ponte di Rialto; the group in bronze of Christ on a globe, supported by the Four Evangelists at San (iiorgio Maggiore. In Verona there is a good Annunciation over the portal of the old Palazzo del (.'onsitrlii) and a Madonna at the Collegio dei Mcr- catanti.

Perkins. Italian Sculptors (London and New York); [DEM Hi torical Handbook of Italian Sculpture (New \..rk,

1883) ' U T TJ

M. L. Handley.

Campagnola, Domenico, painter of the Venetian school, b. at Padua in 1482; dale of death unascer-

tained. This excellent artist was one of the cleverest pupils of the School of Titian, and was so proficient that he is said to have aroused the jealousy of his master. He was also an expert engraver, and is known to have executed etchings and woodcuts. His fresco paintings are to be seen in the Scuola del Santo at Padua and in Venice. They are marked by fresh animated colour, strong poetic sympathy, and easy brilliant technic. He is said to have been even more daring than Titian in the manner in which he drew the mub figure. A fine panel picture by him representing Adam and Eve is in the Pitti Palace, Florence. He was also a painter of landscapes which so closely resemble the works of Titian that they are often attributed to that artist. Many of these landscapes have been engraved by Corneille. His etchings, ten of which are known, almost all bear the same date, 1517. On some his name appears in full, on others abbreviated Do. Cap. or Do. Camp.

For his work as an engraver, see Ottley, Inquiry into the Origin and Early History of Engravinej; Passavant, Peinlre- Graveur; Galichon, Life of (Jiulio Campagnula (1862). For his paintings, see Lanzi, Storia pittorica dell' Italia: Ridolfi, Le Maraviglie dell' arte.

George Charles Williamson.

Campan, Jeanne-Louise-Henriette, nee Genest (known as Madame Campan), a French educator, b. 6 November, 1752, at Paris; d. in 1S22, at Mantes. She was carefully educated under the direction of her father, a head-clerk in the Ministry of Foreign Affairs, in whose house she met such distinguished men of letters as Duclos, Marmontel, and Thomas. At the age of fifteen she spoke English and Italian, and read so well that she was appointed reader to the young princesses, Victoire, Sophie, and Louise, the daughters of Louis XV. Soon afterwards she mar- ried M. Campan, whose father was secretary to the queen's cabinet. On that occasion Louis XV gave her an annual income of 5000 livres (S1000) as dowry. She then entered the service of Marie- Antoinette, as first lady of the bed-chamber (1770), and retained that position till 20 June, 1792. When the unfortunate queen was sent to prison, Mme Campan courageously asked to be allowed to share her sad lot. Her request was denied, and she retired to Coubertin, a small village in the Chevreuse valley. She found herself in straitened circumstances, hav- ing to provide for her young son and for her husband who was heavily in debt and in poor health. With a nun as associate she established a boarding-school for girls at Saint-Germain, which soon achieved success and counted among its pupils Hortense de Beauharnais, the daughter of Josephine. Napoleon was so much pleased with the order, elegance, and distinction of the school that he appointed Mme Campan superintendent of the Imperial Academy of Ecouen, founded for the education of the daughters of members of the Legion of Honour (Dec, 1807). She adopted the programme of the old Saint-Cyr house, modifying it to suit the new conditions. Her chief aim was to train girls to be useful women and good mothers. In 1814 the school was abolished and Mme Campan bitterly denounced as a traitor by the Royalists, because she had accepted the favours of the "usurper". She retired to Mantes and spent her time in writing didactic and historical essays. Mum Campan's principal works are: "Memoires sur la vie de Marie-Antoinette, suivis de souvenirs et anec- dotes sur le rdgne de Louis XIV et de Louis XV" (3 vols., Paris, 1823); " Lett res de deux jeunes Giles" (1811); " LY'diicatinn des femmes" (1823); "Conver- sations d'une mere avec ses filles" (1804); " Xou- velles et comedies a l'usage de la jeunesse" (18231. These four books have been published under the title of "tEuvrea completes de Mme Campan sur l'educa- tion" (Paris, 1823).

Journal anccdotiquc dc Mme Campan. ou souvenirs reciMt&M de ses entretiens, ed. Uaioni (1S23); B akkkhe. .V of ire »W Ma*