are mostly of a political character. The chief, De Sensu et Magia Naturali, is a curious blending of philosophy and occultism; another, a defence of Galileo, does him honour, even though he afterwards changed his view; but another, De Monarchia Universalis seeks to revive the mediæval idea of the universal Church and the universal Empire, substituting Spain for Germany. Until the rediscovery of his poems, his literary reputation principally rested upon one of his slightest productions, his City of the Sun, an Utopian picture of a perfect community. It contains a remarkable anticipation of the steamboat: "They possess rafts and triremes which go over the waters without rowers or the force of the wind, but by a marvellous contrivance. And other vessels they have which are moved by the winds."
Campanella's claims as a vernacular writer rest entirely upon his poems, of which there are said to have been seven books. With the exception of some extracted from the documents of his trial by the diligence of Signor Amabile, all that remain are the sonnets printed in Germany by his disciple, Tobias Adami, in 1622, and forgotten until their republication by Orelli, in 1834. But for these pieces we should not know the real Campanella, whom they exhibit in a more favourable light, even as a thinker, than does the brilliant intuition, chequered with gross credulity, of his professedly philosophical writings. Like Michael Angelo's, they are rather hewn than written—the utterances of a powerful intellect and a passionate heart seeking to express themselves through a medium but imperfectly mastered, hence vehement, abrupt, contorted even to the verge of absurdity, but full of substance, and as remote
