right|thumb|The poisoning of Camma and Synorix in the temple of Diana (Charles Poerson, 17th century).
Camma () was a Galatian princess and priestess of Artemis whom Plutarch writes about in both On the Bravery of Women and the Eroticus or Amatorius. As Plutarch is the only source on Camma, her historicity cannot be independently verified. In both works, Plutarch cites her as an exemplar of fidelity and courage in love.
In Plutarch's accounts, Camma was wedded to the tetrarch Sinatus, and became known and admired for her virtue and beauty.
John Koch and Antone Minard derive "Sinatus" from Galatian * "well-suited" and Sinorix from Galatian * "old king". They suggest that the meanings of the names are indicative of legend.
Plutarch's story of Camma inspired a number of works of later art and literature. Polyaenus briefly reprises Plutarch's tale in his 2nd-century CE Stratagems of War. In the Renaissance, the story of Camma enjoyed considerable popularity, inspiring De re uxoria by Barbaro, De institutione feminae christianae by Vives, the Libro del cortegiano by Castiglione, and Orlando furioso by Ariosto (where Camma is renamed Drusilla). Thomas Corneille wrote a play named Camma (1661) about the story of the Galatian princess. The opera Nephté (1789) by Jean-Baptiste Lemoyne uses the story of Camma but moves the setting to Ancient Egypt. Tennyson subsequently wrote the tragedy The Cup (1884), in which Camma is again a Galatian princess. The poem ‘Camma’ by Oscar Wilde has been seen as a hedonistic commentary on Plutarch's Camma.