As Bruno is the personification of martyrdom in the cause of philosophical speculation, another Neapolitan philosopher of the age, the Dominican TOMMASO CAMPANELLA (1568-1639) represents martyrdom for the sake of country. Campanella is not only a less important figure than Bruno, but less sane and practical. With all his extravagance, Bruno is no visionary; if he sometimes appears obscure and confused, the defect is not in the brain, but in the tongue. Campanella, though endowed with profound ideas, was a visionary who based his hopes of delivering his country from the Spanish yoke on predictions of the millennium, to be fulfilled by the advent of the Turks, and was sufficiently paradoxical to dream of a perfect republic in the kingdom of Naples. But this alliance of mental unsoundness with extraordinary intelligence renders him deeply interesting; unlike the frank and candid Bruno, he is one of the _problematische Naturen_ who, as Goethe justly says, perpetually attract mankind. The flower of his life (1599-1625) was spent in prison, and some of it in torture, on account of a conspiracy which, after all the investigations of Signor Amabile, remains in many respects obscure, but which was undoubtedly designed to free Naples from the yoke, not only of Spain, but of Rome. Released at length, Campanella successively found an asylum at Rome and at Paris, where he died in 1639. As his captivity became milder, he had been permitted to write, and to receive visits from friends, through whom his works found their way to the public. They 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 Universali_, 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.”