The third and final volume of Sor Juana Inés de la Cruz’s works published in her time (if not her lifetime), appeared posthumously in Madrid in 1700. Organized and edited in New Spain and Old, the Fama y obras pósthumas [Fame and Posthumous Works] includes writing by Sor Juana (1648–1695), the cloistered Hieronymite nun known as New Spain’s “Tenth Muse,” dozens of elegies written upon her death by Spanish and Mexican peers and a voluminous paratext in the way of licenses, a frontispiece, a vita and two prologues. Alone in being the third volume of work published by a New World criolla nun in Spain, the complex baroque volume is also her fama póstuma, a tribute to her posthumous fame, written and printed at a time in which fame was off limits to women and literary posthumous fame (a male affair) did not assure glory. As Ann Rosalind Jones has shown, although the winged figure of allegorical Renaissance iconography that personified Fame was a woman, seventeenth-century women were excluded from her realm (1986, 74). And posthumous literary fame could not be uncoupled from the author’s moral exemplarity until well into the eighteenth century (Goodman 549).