The account of an elaborate theatrical entertainment which appears in Canto V of Marino's Adone (1623), like so many features of the poem, presents a glorified portrayal of the life style of royalty in the Baroque age, its splendor, its extravagance, its ingenuity. Though the passage may strike the modern reader as being largely fanciful, almost every detail of it can be duplicated in the extant records of festivals and masques of the European courts from Rome to London between 1550 and 1625. There is one feature of Marino's theatrical presentation, however, which represents a striking departure from the familiar practices of the scenographers of the period: namely, the rapid changing of scenes through the use of a revolving stage.