Spanish colonial enterprise when Francisco de Terrazas, the son of a 16th-century conquistador, was among its Mexican pioneers. Later came two sonnet writers in holy orders, Bishop Miguel de Guevara (1585-1646) and, especially, Sister Juana Inés de la Cruz. But though sonnets continued to be written in both the old world and the new, innovation was mainly limited to the Americas, where the sonnet was used to express a different and post-colonial reality. In the 19th century, for example, there were two poets who wrote memorable sonnets dedicated to Mexican landscapes, Joaquín Acadio Pagaza y Ordóñez in the torrid zone to the south and Manuel José Othón in the desolate north. In South America, too, the sonnet was used to invoke landscape, particularly in the major collections of the Uruguayan Julio Herrera y Reissig, such as Los Parques Abandonados (Deserted Parks, 1902–08) and Los éxtasis de la montaña (Mountain Ecstasies, 1904–07), whose recognisably authentic pastoral scenes went on to serve as example for Cesar Vallejo in his evocations of Andean Peru. Soon afterwards the sonnet form was deconstructed as part of the modernist questioning of the past. Thus, in the Argentine poet Alfonsina Storni's Mascarilla y trébol (Mask and Clover, 1938), a section of unrhymed poems using many of the traditional versification structures of the form are presented under the title "antisonnets". Portuguese The first sonnets in Portuguese literature are ascribed to Dom Pedro in the early 15th century. A son of King John I, he was also responsible for translations of sonnets by Petrarch. But the form did not come into its own until the following century in the work of Luís de Camões, who generally follows the styles of Italian poetry, though in them the influence of the Spanish pioneers of the form has also been discerned. Among later writers, the comic sonnets of Thomas de Noronha were once appreciated, and the love sonnets of Barbosa Bacellar (c.1610-1663), also known for his learned glosses on the sonnets of Camões. The introduction of a purified sonnet style to Brazilian literature was due to Cláudio Manuel da Costa, who also composed Petrarchan sonnets in Italian during his stay in Europe. However, it was in the wake of French Parnassianism that there developed a similar movement in Brazil which included the notable sonneteers Alberto de Oliveira, Raimundo Correia and, especially, Olavo Bilac. Others writing sonnets in that style included the now