A BIOGRAPHICAL DICTIONARY OF
CAMERINO, Jacopo da, a Franciscan monk,
who assisted Turrita with the mosaics in the church
of San Giovanni in Laterano, is known to have
worked from 1288 to 1321. His compositions are
in a style similar to that of Cimabue.
CAMILO, Fkancisco, was, according to Palomino, the son of Domenico Camilo, a Florentine who had settled in Spain. He was born at Madrid in 1610, and was a scholar of Pedro de Las Cuevas, whom his widowed mother had married. He proved a reputable painter of history, particularly in his colouring, which is sweet and tender. His best work is ' The Communion of St. Mary of Egypt,' painted for the high altar of the church of the Capuchin convent at Alcala de Henares, but now in the Museo Nacional at Madrid, where there are likewi.se twelve other pictures by him. Nearly equal in merit are his ' St. Charles Borromeo,' in the church of the Minorites at Salamanca, and his 'Descent from the Cross,' in San Justo at Segovia. But his most celebrated picture is the 'Nuestra Senora de Belem,' in the church of San Juan de Dios, at Madrid, which Palomino emphatically says is "without limit in perfection." He died at Madrid in 1671. In the palace of Buen Retire at Madrid, are his portraits of the Spanish kings, and fourteen frescoes representing subjects taken from Ovid's ' Metamorphoses.' The Hermitage at St. Petei'sbiirg has an ' Assumption of the Virgin ' by him. Francisco Ignacio was the best of his many pupils.
CAMINADE, Alexandre FnANgois, a painter of historical subjects and portraits, as well as a lithographer, was born in Paris in 1783. He studied in the schools of David and M(5riin^e, and visited Rome. His works did nut show any great power, but their pleasing colouring and correctness of drawing caused them to meet with a ready recep- tion. There are many examples of his work at Bordeaux, and at Versailles, where he died in 1862.
CAMLIGUE, — , a French engraver, unnoticed by Basan, flourished towards the close of the 18th centur)'. He engraved the plate of ' Le Pari gagnd' in R^tif de la Bretonne's 'Monument du Costume,' published in 1789, as well as some of the plates in the smaller edition of the same work.
CAMMAS, Lambert FKANgois Th^r^se, a French painter, architect, and engineer, was born at Toulouse in 1743. He was instructed in the rudiments of art by his father, Guillaume Cammas, an architect of repute, who designed the faf ade of the H6tel-de-Villo at Toulouse. He afterwards went to Rome, where in 1770 he became professor at the Academy of St. Luke. On his return to France he protested against the bad taste which had disfigured the majestic outlines of the noblest churches with mean and ridiculous ornaments, and made numerous designs for the restoration of al- most all the religious edifices of the city of Tou- louse. Cammas died in that city in 1804'. His picture representing ' Louis XVI. recalling the Parliaments exiled during the reign of Louis XV.' is in the Museum of his native city.
CAMPAGNOLA, Domenico, was bom at Padua about 1482, and worked there in the earlier half of of the 16th century. Brought up in the school of Titian, Domenico soon attained a proficiency that even roused the jealousy of his master. At Padua his fresco paintings in the Scuola del Santo lose little of their merit by a comparison with the works of his admirable instructor, and in his oil pictures in the Scuola del Carmine he sustains the contest with him even more equally. In the com- partments of the ceiling, in which he has repre- sented the Evangelists and other Saints, he appears (says Lanzi) to have aspired to a grandeur above Titian, and to have drawn the nude figure with a more daring and unrestrained outline. An 'Adam and Eve ' by him is in the Pitti Palace, Florence. Ridolfi speaks highly of his merit as a painter of landscapes, which he says are in the fine style of Titian, and little inferior to those of that master. A large number of them have been engraved by Corneille.
Domenico Campagnola holds an eminent rank as an engraver, and his etchings are executed in a style that shows the hand of a master. The follow- ing is a list of prints by him, but it is curious that by far the larger part of them bear the same date, viz., 1517; on some is seen his name in full, on others it is abbreviated thus:
| ·DO. | ·DO. | or |
| ·CAP. | ·CAMP. |
Christ healing the Sick Man at the Pool of Bethesda. The Resurrection of Christ. The Descent of the Holy Spirit ou the day of Pentecost. The Assumption of the Virgin. The Madonua seated with the Infant iu her arms under a Tree, with St. Catharine kneeling on her left, and a graceful Female holding a Banner on her right. The Decollation of a Female Saint. A Youth in a standing posture, with a Reed Pipe, lean- ing against a Tree, and on the left an old Man, in the habit of a Warrior, with a Dog at his feet. A Combat of naked Men on Foot and on Horseback, in a Wood. St. Jerome seated naked at the entrance of a hut, with the Lion at his feet. Twelve Children dancing. The design of this piece is attributed by Passavant to Titian. There also exist a few woodcuts which bear the name of Domenico Campagnola.
CAMPAGNOLA, Giulio, a painter and engraver, was born at Padua in 1481. He excelled in minia- ture, and also painted pictures in oil that ap- proached the modem style. We have by this artist a fine plate after Giovanni Bellini, repre- senting 'St. John the Baptist holding a Cup.' It is deserving of remark that this print is engraved in a peculiar manner for the time. The back- ground is expressed by dots, apparently executed with a punch, and the outline of the figure is put in with a deeply-engraved stroke, and finished within with dots. 'The execution of this plate affords a reasonable presumption that this style of engraving, known as opus mallei, which has been generally considered of modem date, is of some antiquity. Among other plates may be mentioned ' Ganymede,' engraved in the manner of Jlarc-Antonio, and two others executed with extraordinary minuteness and care, viz., ' An aged Shep- herd, reclining, holding a fiute,' and ' The Astrologer' (1509). Another specimen, executed with the dry point, represents a nude female recliidng on a bank beneath some foliage, and recalls the style of Giorgione. Bartsch and Passavant together enumerate sixteen engravings by Giulio Campagnola, most of which are from the designs of the great masters of the Venetian school, especially Giovanni BelUni and Giorgione. This artist has been the subject of much discussion, and some acrimonious controversy. See Zani's 'Bnciclopedia,' part I. vol. v., Ottley's 'Inquiry into the Origin and Early History of Engraving,' Passavant's 'Peintre-Graveur,' v. 162— 167, and Galichon'e Life of him published in 1862.
CAMPAGNOLA, J. J., is thought by Passavant
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