No wonder that in such a state of society, literature and art reached the lowest point in all its history. Scarcely a single man of genius or even of talent, can be found in the period between 1580 and 1750. All literature was marked by lack of originality of thought and by a style deformed by execrable taste, a style which consisted of wretched conceits, puns, antithesis, and gorgeous and far-fetched metaphors. This form of literary diction was not confined, however, to Italy, being represented in Spain by Gongora, in France by the Hôtel de Rambouillet, and in England by Lyly's Euphues. In Italy it is known as Marinism from the poet Marini, whose Adone (in which is told the love of Venus for Adonis, a subject previously treated by Shakespeare) exemplifying all phases of the above-mentioned style, had enormous popularity not only in Italy but abroad. During the period now under discussion, poets were not wanting, for the defect was in quality rather than quantity. Yet not all were entirely without merit, for some possessed a certain degree of talent, especially in the musical elements of their verse. Such were the lyrical poets, Chiabrera, Testi, and Filicaja. In prose literature a better and saner style prevailed, especially in the dialogues of Galileo, and in the historical and critical writings of Sarpi and Vico. In 1748 the Treaty of Aix-la-Chapelle ended Spanish rule in Italy, and the breath of free thought from England sweeping across the plains of France entered Italy and gradually weakened the power of the Jesuits, dissipated to a certain extent superstition and ignorance, and aroused the country to a sense of its degradation. By bringing Italy into connection with other nations, and with newer ideas, it planted the germs of a new intellectual life. The influence of France, England, and Germany began to make itself felt. Corneille, Racine, and Voltaire influenced Italian tragedy, while Molière, who himself had borrowed largely from the early Italian comedies, now returned the favor by becoming the master of Goldoni. English influence came later, first Addison, Pope, and Milton, then toward the end of the eighteenth century, Young, Gray, Shakespeare, and Ossian. Last of all came the German influence, especially Klopstock and Goethe.