In his verse he practised both concettismo and the Pindaric mode, as he theorized in his Lettera sopra la poesia ditirambica (1629).
[3] Adimari wrote also a kind of bibliography of poets La Mono-Grecia ove sono raccolti i nomi di tutti i Poeti dal principio della Poesia del Mondo sino al principio della Poesia Toscana; Esequie di don Francesco de Medici (1614); and other minor works.
Between 1637 and 1640 he published six collections of fifty sonnets each, under the names of six of the muses: “Terpsichore”, “Clio”, “Melpomene”, “Calliope”, “Urania”, and “Polyhymnia”.
The sonnets are parodies of Petrarchan flattery, purporting to celebrate beauty in women who are too young or too old to be loved or who are ill or deformed.
[5] Aßmann's translation of Adimari's “Terpsichore” appeared in the 1704 collection as “Schertz-Sonnette oder Kling-Gedichte über die auch bey ihren Mängeln vollkommene und Lieb-würdige Schönheit des Frauenzimmers” (Playful Sonnets or Songs on the Perfect and Amiable Beauty of Women Even If Flawed).