they admire COPERNICUSand consider Aristotle to be a
pedant. Campanella also wrote an Apologia pro Galileo
(1622) and De sensu rerum et magia (1620), both of which
had also to be published by his disciple Tobias Adami at
Frankfurt.
Further reading: John M. Headley, Tommaso Cam-
panella and the Transformation of the World (Princeton,
N.J.: Princeton University Press, 1997).
campanilismo The sense of civic pride and identity felt
by the citizens of the Italian city-states. The term derives
from campanile (bell tower), a prominent feature of every
town, however small, the bell of which would mark ordi-
nary daily events or summon or warn the citizens in times
of crisis.
Campi family Italian painters from Cremona
Galeazzo Campi (c. 1477–1536) was strongly influenced
by BOCCACCINO, and examples of his work survive in the
Cremonese churches of San Sigismondo and Sant’
Agostino. Galeazzo’s son Giulio (c. 1500–72) was influ-
enced by GIULIO ROMANOand by PORDENONEand worked
with his brother Antonio (c. 1535–c. 1591) on the fres-
coes in San Sigismondo, in which is preserved the most
important of his works, The Madonna appearing to
Francesco and Bianca Sforza (1540); it was in honor of
their marriage (1441) that the present church of San Sigis-
mondo was begun in 1463. Giulio also painted frescoes of
the life of St. Agatha for the church of Sant’ Agata, Cre-
mona. A Pietà with Saints (1566) by Antonio is in the
cathedral at Cremona and both Giulio and Antonio are
represented by works in San Paolo Converso, Milan. An-
tonio also wrote a history of Cremona (1585), which he il-
lustrated with his own engravings. The third of Galeazzo’s
sons, Vincenzo (1536–91), specialized in portraits with
still lifes; typical of his output is the realistic Woman with
Fruit (Brera, Milan). A cousin, Bernardino (c. 1522–c.
1592), also worked on San Sigismondo (1570); his works
hint at the elegant manneristic style of CORREGGIO. A Pietà
by Bernardino is in the Louvre, Paris.
Campin, Robert (1379–1444) Netherlands painter
Campin is now generally thought to be identical with the
socalled Master of Flémalle, the painter of panels depict-
ing St. Veronica and the Virgin (1430–35; Städelesches
Kunstinstitut, Frankfurt) that were thought to come from
Flémalle, near Liège. He was born at Valenciennes and is
recorded as a master at Tournai (now in Belgium) in 1406,
becoming a citizen of the town in 1410. There his most fa-
mous pupil was Rogier van der WEYDENin the late 1420s.
Campin is considered one of the great innovators of
the early Netherlandish school as he moved from the dec-
orative but flat stylization of International Gothic to a
mode in which realism and perspective played a more sig-
nificant role. The triptych known as the Mérode altarpiece
(c. 1428; Metropolitan Museum, New York) shows the
Annunciation taking place in a pleasantly furnished bour-
geois room; the townscape visible through the window be-
hind St. Joseph on the right wing has a faltering approach
to perspective, which is more deftly handled in the Nativ-
ity (c. 1430; Dijon). A Virgin in Glory with Saints
(1430–35; Musée Granet, Aix-en-Provence), the Werl al-
tarpiece wings (1438; Prado, Madrid), and portraits of a
man and a woman (1430–35; National Gallery, London)
are among his later works. He is often compared with his
greater contemporary, Jan van EYCK.Campion, Edmund (1540–1581) English Jesuit
Born in London, the son of a bookseller, Campion went to
Oxford where he enjoyed a distinguished career. He was
ordained a deacon in the Church of England (1569) but
his sympathies already lay with Roman Catholicism and
he left Oxford for Dublin. In 1571 he went to DOUAIwhere
he was received into the Catholic Church, before moving
on to Rome, where he joined the JESUITS(1573). After his
ordination (1578) he spent time in Bohemia before join-
ing forces with Robert PARSONSto undertake the mission
to reconvert England. His preaching in London and the
recusant stronghold of Lancashire (see RECUSANCY) was
enthusiastically received, and in 1581 he wrote Decem ra-
tiones (1581) challenging a Protestant–Catholic debate.
The same year he was arrested, charged with conspiracy,
tortured, and executed at Tyburn. He was canonized in
1970.cancionero (Portuguese cancioneiro) In Iberian poetry, a
verse anthology of songs and lyrics, usually of a particular
era or school of poets, but also of individuals (those of
Jorge MANRIQUEand Juan del ENCINA, for example). The
earliest anthologies are 13th century, the oldest being El
cancioneiro de Ajuda of King Dinis of Portugal (1259–
1325), a collection of Portuguese verse in the troubadour
tradition of Provence. Other Gallego-Portuguese antholo-
gies contain written versions of Galician folksongs. Major
cancioneros are those of Juan Alfonso de BAENA(1445) and
the Cancionero de Stúñiga (named after the first poet to ap-
pear in it, Lope de Stúñiga (c. 1407–c. 1477)), which con-
tains works chiefly from the court of Alfonso I of Naples
(1443–58). The largest, the Cancionero general (1511),
compiled by Hernando del Castillo, contains about 1000
poems by over 100 poets living from the reign of John II
(1406–54) onwards. A similar Portuguese anthology is the
Cancioneiro geral de Resende (1516), containing verses by
286 courtly poets of the late 15th and early 16th centuries
writing in Spanish as well as Portuguese.Candia The Venetian name for the largest city on the is-
land of Crete, and, by extension, the name by which the
whole island was commonly known in the Middle Ages.
The word is a corruption of the Arabic name “Khandak,”CCaannddiiaa 8877