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city, present at the coronation of Charles V by the pope (24 February, 1530), and afterwards accom- panying the emperor to the Diet of Augsburg as legate. His influence was now greater than ever. He wrote triumphantly to Clement, assuring him that all would soon be made right in Germany. He opposed the holding of a council, because he did not believe in the good faith of the Protestants, and relied chiefly on the exercise of the imperial authority to put down Protestantism, if necessary by force. After Clement's death (25 September, 1534), Campeggio returned to Rome and took part in the conclave in which Paul III was elected. By him he was appoint- ed to the suburbicarian See of Prseneste (Palestrina), and was sent to Vicenza for the opening of the coun- cil. His death took place, as above stated, at Rome, and he was buried at Bologna.

As noted above, Campeggio's career is described in the histories of the early Reformation and the divorce of Henry VIII; the best account is by Pastor. Gcschichte der Papsle (Freiburg. 1906-7), parts I— II; see also Gairdnkr in Diet. Nat. Biog., s. v., and Kirchenlex., II, 1779-81. An extensive life of Campeggio was written by Sigonius, De Episcopu Bonon- iensibus (Bologna. 15S6), also in the latter's Opp. Omnia (1723- 37), III, 531-76. A number of his letters, of great value for the study of the history of his times, may be found in Episto- larum Miscell. (Basle, 1550), Lib. X. In his Rnmische Doku- nioitr, etc.. pertaining to the divorce of Henry VIII (Paderborn, 1893), Da. Ehses of the German Campo Santo at Rome made known many of Campeggio's letters written from Germany (1530-32), of which Rev. Herbert Thurston, S. J., says (Clement VII, Campeggio, and the Divorce in Amer. Cath. Quart. Rev., 1904. 233-306) that ' 'it would be hard to find in the diplomatic correspondence of those days a more striking example of a manly upright spirit". He dismisses as quite unproven the charges against the honesty and morality of the cardinal; as much may be said of the gossip related bv Brieger in Real- encyk. f. prot. Theol. und Kirche (3d ed., Ill, 698-704). The documentary collections edited by Brown and bv Brewer it*, the Calendar of State Papers, the latter's Life of Henry 17// (London, 18S4), and Pocock, Records of the Reformation (the divorce documents — Oxford. 1S70) are important sources for a fuller knowledge of the life of Campeggio in England. For his Pro memorid ad Hadriavum papam de depravatione stains romana ecclcsia-, see Deutsche Zeitschr. f. Gesch (2d series, 1897), 1, 71. His t'onstitutio ad removendos abusus el ordinalio ad vitam clcri reformandam, published at Ratisbon in 1524. is in Le Plat, Monumenla Cone. Trid. (Louvain, 17S2), II, 226-37. The writings of Campeggio are described at length by Fantuzzi in Nolizie degli ScriUori Bolognesi (1783), vols. Ill and IX. For Campeggio as a canonist see Schulte, Gesch. d. Quell, und Lilt, des can. Rechts (Stuttgart. 1880). II. 559. See also Hur- ter, Nomenclat. Lilt. (Innsbmck, 1906). II, 1326; and Ehses, Rdm. Dokumente, quoted above. XVI-XXXI, and in Rom. Qtiartalschrifl (1900), 256-68; (1903). 383-406; (1904), 358- 843. Some of Campeggio's reports are in Lammbk, Monu- menta Vaticana I Freiburg. 1S61). His name is written vari- ously by contemporaries, Campegio, Campegi, etc.; he was wont to sign in the latter way.

T. B. SCANNEIX.

Campi, Bernardino, an Italian painter of the Lombard School, b. at Cremona, 1522; d. at Reggio, about 1590. His father, Pietro Campi, was his first teacher and instructed the boy in his own art, the goldsmith's; but when Bernardino saw Titian's drawings, and prints, and designs for tapestries, the youth at once abandoned plastic art to study paint- ing. Giulio Campi was his teacher at Cremona; later, at Mantua, he was Ippolito Covta's pupil. He commenced painting when nineteen years old, and soon excelled his masters. Deeply impressed by the works of Correngio. Titian, Raphael, and Romano, he endeavoured — as did his teacher Giulio — to unite all their merits into a "style" and establish a stand- ard of excellence. Finally, however, Bernardino ac- quired a vigorous style of his own, painted excellent portraits, and decorated many of the Lombardy churches. When he added a Csesar to the eleven Caesars of Titian it was difficult to distinguish his picture from those of the great Venetian. His mas- terpiece is at Cremona in the cupola of S. Sigismondo. Here are depicted the multitude of saints and the blessed, with their symbols. This prodigious com- position, exhibiting great invention, variety, and harmony, he finished in seven months; and so suc- cessfully ditl he manage the drawing and perspective that the figures seem to be of natural size, whereas

they are ten feet high. In 1580 or 1584 he published at Cremona a quarto, " Parere sopra la pittura", a book full of valuable information for the artist. Ber- nardino had many pupils, and his influence on Italian art in the sixteenth century was most healthful and invigorating. He was buried in San Prospero, at Reggio, a church he was engaged in decorating with frescoes when he died. Noteworthy among his works are the "Descent from the Cross" in the Brera gallery at Milan. "Mater Dolorosa" in the Louvre at Paris, and the frescoes in the cupola of S. Sigismondo at Cremona.

Crowe and Cavalcaselle, History of Painting in North Italy, II; Burckhardt, Art Guide to Painting in Italy (London. 1883); Jameson, Sacred and Legendary Art (London, 1850 ; Blanc, Hisloirc des pcinlres de toutcs Its ccolrs: Ecole Lombard,' (Paris, 1877).

Leigh Hunt.

Campi, Galeazzo, an Italian painter, b. at Cre- mona, 1475; d. 1536. He commenced his studies, according to Vasari, with the noted Boccaccino; but Lanzi doubts this, because Galeazzo's style is so dif- ferent from that of Boccaccino. Galeazzo did not possess great talent, most of his work being but a weak imitation of Perugino's. His best production is a portrait of himself (1528) which was accorded a place in the Uffizi gallery at Florence. The most celebrated and the most interesting of Ms paintings, however, is the quaintly curious "Raising of Laza- rus", painted in 1515 and owned (1903) by Canon Bignami. A "Virgin and Child" at Cremona is also worthy of mention. He left three sons, all painters. It is not determined definitively whether Bernardino Campi was of his family or not.

Lanzi, History of Painting in Italy, tr. RoscoE (London); Vasari, Lives of the Painters, tr. Foster (London, 1S78); see, also, Campi, Bernardino.

Leigh Hunt.

Campi, Giulio, an Italian painter and architect, b. at Cremona about 1500; d. there, 1572. He was the eldest son of Galeazzo Campi, who was his first teacher. In 1522, in Mantua, he studied painting, architecture, and modelling under the great Romano. He visited Rome, became an ardent student of the antique, and like Bernardino — who may have been related to him — he came so strongly under the influ- ence of Raphael's and Correggio's paintings, that he endeavoured to combine the best in them into a com- posite style; indeed, Giulio and the other members of the Campi family were pioneers in the movement to rid painting of its empty mannerisms and to instil into it. a healthy vitality. Giulio is called the " Ludo- vico Carracci of Cremona" although he preceded the founder of the "Eclectics". When but twenty-seven Giulio executed for the church of Sant' Abbondio, his masterpiece, a "Virgin and Child with SS. Celsus and Nazarus", a decoration masterly in the freedom of its drawing and in the splendour of its colour. His numerous paintings are grandly and reverently con- ceived, freely drawn, vigorously coloured, lofty in style, and broadly handled. He was a real founder of a school, and was animated in all his work by a deep piety. The churches in Cremona. Mantua, and Milan are filled with his frescoes; and Saint Mar- garet's, in his native town, is a Giulio Campi gallery. Among his chief works are the "Descent from the Cross" (S. Sigismondo) at Cremona, and the frescoes in t lie dome of S. Girolamo at Mantua. An altar- piece in S. Sigismondo and his "Labours of Her- cules" were engraved by the celebrated Ghiso, "il Mantovano".

Campofulgosus (Campofulgosio). See Freqoso-

Campo Santo de' Tedeschi (Holy Field of the Germans), a cemetery, church, and hospice for Ger-