Venetian's advice but did so in association with the more talented Garcilaso de la Vega, a friend to whom some of his sonnets are addressed and whose early death is mourned in another. The poems of both followed the Petrarchan model, employed the hitherto unfamiliar hendecasyllable, and when writing of love were based on the neoplatonic ideal championed in The Book of the Courtier (Il Cortegiano) that Boscán had also translated. Their reputation was consolidated by the later 1580 edition of Fernando de Herrera, who was himself accounted "the first major Spanish sonneteer after Garcilaso". During the Baroque period that followed, two notable writers of sonnets headed rival stylistic schools. The culteranismo of Luis de Góngora, later known as 'Gongorismo' after him, was distinguished by an artificial style and the use of elaborate vocabulary, complex syntactical order and involved metaphors. The verbal usage of his opponent, Francisco de Quevedo, was equally self-consciousness, deploying wordplay and metaphysical conceits, after which the style was known as conceptismo. Another key figure at this period was Lope de Vega, who was responsible for writing some 3,000 sonnets, a large proportion of them incorporated into his dramas. One of the best known and most imitated was Un soneto me manda hacer Violante (Violante orders me to write a sonnet), which occupies a pivotal position in literary history. At its first appearance in his 1617 comedy La niña de Plata (Act 3), the character there pretends to be a novice whose text is a running commentary on the poem's creation. Although the poet himself is portrayed as composing it as a light-hearted impromptu in the biographical film Lope (2010), there had in fact been precedents. In Spanish some fifty years before, Diego Hurtado de Mendoza had written the pretended impromptu, Pedís, Reina, un soneto; and even earlier in Italian there had been the similarly themed Qualunque vuol saper fare un sonetto (Whoever to make a sonnet aspires) by the Florentine poet Pieraccio Tedaldi (b. ca. 1285–1290; d. ca. 1350). Later imitations in other languages include one in Italian by Giambattista Marino and another in French by François-Séraphin Régnier-Desmarais, as well as an adaptation of the idea applied to the rondeau by Vincent Voiture. The poem's fascination for U.S. writers is evidenced by no less than five translations in the second half of the 20th century alone. The sonnet form crossed the Atlantic quite early in the