A German gentleman, named Tobia Adami, who is supposed to have been a Court-Counsellor at Weimar, after travelling through Greece, Syria, and Palestine, in company with a young friend called Rodolph von Bunau, visited Campanella in his dungeon.

A close intimacy sprang up between them, and Adami undertook to publish several works of the philosopher in testimony of his admiration.

The manuscript itself is lost, and Adami's edition of the specimens is all that now remains as basis for the text of Campanella's poems.

Besides the poems, it contained a brief prose commentary by the editor, the value of which is still very great, since we have the right to suppose that Adami's explanations embodied what he had received by word of mouth from Campanella.

Adami calls this sonnet scoprimento stupendo. IX.

Lines 9-11: as Adami sometimes says, qui legit intelligat.

Adami says in a note: Questo sonetto è fatto perchè l'intendano pochi; nè io voglio dichiararlo.

Here again Adami warns us: qui legit intelligat.

It will be noticed that the rhymes are carried from sonnet to sonnet; so that the three form one poem, described by Adami as sonetto trigemino.

No. XLL, line 4: concerning Taida, Sinon, Giuda, ed Omero, Adami says: 'These are the four evangelists of the dark age of Abaddon.'

Adami heads these two sonnets with this title: Sopra i colori delle vesti.

Qui legit intelligat, says Adami.

For the understanding of this strange composition Adami offers nothing more satisfactory than mira quante contraposizioni sono in questo sonetto.

We should infer from the poem itself that his madness was simulated; but Adami, who ought to have known the facts from his own lips, writes: quando bruciò il letto, e divenne pazzo o vero o finto.

To this incomprehensible string of proverbs Adami adds, ironically perhaps: questo è assai noto ed arguto e vero.

Rudolph von Bunau set himself at the age of sixteen to philosophise, travelled with Adami, and with him visited Campanella in prison at Naples.

Adami, to whom we owe the first edition of these sonnets, visited Campanella in the Castle of S. Elmo, having wandered through many lands, like Diogenes, in search of a man.

Line 5: this, says Adami, 'refers to a dream or vision of a sword, great and marvellous, with three triple joints, and arms, and other things, discovered by Tobia Adami, which the author interpreted by his primalities'that is, I suppose, by the trinity of power, love, wisdom, mentioned in No. VII.

Line 5: this, says Adami, 'refers to a dream or vision of a sword, great and marvellous, with three triple joints, and arms, and other things, discovered by Tobia Adami, which the author interpreted by his primalities'that is, I suppose, by the trinity of power, love, wisdom, mentioned in No. VII.

It is the first of three prayers to God from his prison, entitled by Adami Orazioni tre in Salmodia Metafisicale congiunte insieme.

Casanova a Venezia, azione coreografica in otto quadri da Giuseppe Adami.

Marta Pick-Mangiagalli & Veniero Adami (NK); 4Dec56; R181899.

SEE GRUELLE, JOHN B. GUARINO, CARMINE. Balilla; azione coreografica in sei quadri di Giuseppe Adami, musica di Carmine Guarino.

Doretta Adami in Rota (C); 24Jan63; R308893.

Leo C. Rosten (A); 10Jun63; R316780. ROTA, DORETTA ADAMI IN. Balilla.