u Bartas, more marinistic than Marino, more
euphuistic than Euphues, gave laws to literature; and the pageant
pictures by Rubens, which still adorn the Gallery of the Louvre, marked
the full-blown and sensuous splendor of Maria's equipage. Marino's
genius corresponded nicely to the environment in which he now found
himself; the Italians of the French Court discerned in him the poet who
could best express their ideal of existence. He was idolized, glutted
with gold, indulged and flattered to the top of his bent. Yearly
appointments estimated at 10,000 crowns were augmented by presents in
return for complimentary verses or for copies of the poem he was then
composing. This poem was the _Adone_, the theme of which had been
suggested by Carlo Emmanuele, and which he now adroitly used as a means
of flattering the French throne. First printed at Paris in 1623, its
reception both there and in Italy secured apotheosis in his lifetime for
the poet.[187] One minor point in this magnificent first folio edition
of _Adone_ deserves notice, as not uncharacteristic of the age. Only two
Cantos out of the twenty are distinguished by anything peculiar in their
engraved decorations. Of these two, the eleventh displays the shield of
France; the thirteenth, which describes Falsirena's incantations and
enchantments, is ornamented with the symbol of the Jesuits, IHS. For
this the publishers alone were probably responsible. Yet it may stand as
a parable of all-pervasive Jesuitry. Even among the roses and raptures
of the most voluptuous poem of the century their presence makes itself
felt, as though to hint that the _Adone_ is capable of being used
according to Jesuitical rules of casuistry A.M.D.G. One warning voice
was raised before the publication of this epic. Cardinal Bentivoglio
wrote from Italy beseeching Marino to 'purge it of lasciviousness in
such wise that it may not have to dread the lash of our Italian
censure.' Whether he followed this advice, in other words whether the
original MS. of the _Adone_ was more openly licentious than the
published poem, I do not know. Anyhow, it was put upon the Index in
1627. This does not, however, appear to have impaired its popularity, or
to have injured its author's reputation. Soon after the appearance of
_Adone_, Marino, then past fifty, returned to Naples. He was desirous of
reposing on his laurels, wealthy, honored, and adored, among the scenes
from which he fled in danger and disgrace thirty ye