The article pretends to narrate the process of enrichment of the Parnassus frame during the seventeenth-century(until 1672) and to study the immediate impact of the decision of González de Salas or Quevedo to distributing his poems in nine muses among his contemporary poets. In particular, our study examines the decision of three poets that can be deemed peripheric, but that will cultivate this generic distinction, albeit not without some degree of controversy or reflection from Lisbon, Francisco Manuel de Melo; from Amsterdam, Miguel de Barrios; and from Cagliari (José Delitala).
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