to allegorical autos such as for the mystery of the Eucharist, Calderón de la Barca also wrote secular plays for the royal court that included his Loa for Andrómeda y Perseo (Andromeda and Perseus), which used scenery drawings and machinery effects created by the stage architect Baccio del Bianco. Loas in Latin America A 1551 Peninsular Corpus Christi play shows the earliest recorded use of the word loa, as we know, in reference to a dramatic prologue in Latin America. Until 1581, the loa was used in religious drama. Loas gained popularity in the "New World" by the 17th century because playwrights attached to the viceregal courts from Spain were aiming to flatter these patrons as well as the monarchs of Spain. Later 18th century "New World" loas contained some of the first references to problems in the Americas navigating class structures with the emergence of a hierarchy based on race that included Criollo, Indios, Mestizos, and more. Monologues appeared in laudatory prologues or introductions as loas in the plays of Hispanic America and are called in Brazil. Sor Juana Inés de la Cruz (1651-1695) Sor Juana is said to have written hundreds of loas or autos (sacred) and for comedias (secular) in Peru and New Spain but only 18 remain. She is the most prolific writer of loas in Spanish America, having written 18 of the 36 extant loas. Of the loas we have, 12 are secular, celebrating birthdays of the royal family and praising the royal court of Spain. Two more of the loas similarly celebrate secular special events, and the last four are sacred loas that promote Christian practices among the indigenous people of Latin America. Most notable of these sacred loas is Loa para el Auto de el Divino Narciso. The allegorical characters of El Occidente and La América represent the indigenous people while the characters La Religion and El Zelo symbolize the Spanish Christians. Fernán González de Eslava (1651-1695) Loas by a Mexican playwright Fernán González de Eslava were used for eight of his plays which mirrored the first laudatory style loas from Spain. González de Eslava’s loas are all in the same monologue style opening with praise for a Viceroy in Latin America, a saint, or a sacrament. They then give a summary of the play, and always end with the request for the audience to pay attention and be silent. Pedro de Peralta