Under the same point of view he judges the writings of the later Spanish dramatists, on which he confers particular commendation on account of their superior regularity.[590] Next follows a list of the faults, which, according to the above principles, he imputes to the Spanish drama in general, and to the favourite dramatic poets of the Spanish public in particular; and on this subject he makes many just observations. He had good reasons for not venturing to attack the Spanish Autos. He accordingly dismisses them very briefly, pronouncing no literary judgment on them, and merely observes that they are allegorical representations in honour of “the most holy sacrament of the altar.” Thus did a critic, whose voice a century earlier would scarcely have been heard, systematically undertake to reform Spanish taste. It appears from Luzan’s introductory observations that he was either not sufficiently acquainted with the history of the poetry of his nation, or had forgotten most essential facts, otherwise he never could have adopted the notion that Spanish taste had degenerated for want of learned critics to open the eyes of the public. The Spaniards of Luzan’s age paid no more attention to his Art of Poetry, than their ancestors had bestowed on Lopez Pinciano’s, which inculcated the same principles two hundred years earlier, when the Spanish drama was in its infancy. But the members of the Spanish academy regarded Luzan’s book with as much veneration, as if through it the light of pure taste had first been disclosed to Spain; and thus was the academy at length placed in conflict with the public it sought to improve. Whether all the members of that literary institution concurred in Luzan’s plans of critical reformation cannot now be known. This, however, is certain, that nothing was written in defence of the national style, either by an academician or by any other critic or amateur; and all the writers, who, since that period, have by means of critical treatises and new dramas, zealously laboured to improve the dramatic literature of Spain, according to French principles, have been members of the Spanish academy. Luzan himself did his utmost to support his theory by some original poetic productions and translations from the French. He translated one of Lachausée’s comedies; but with what success it was represented on the Spanish stage is not mentioned. It was, however, followed by various translations of French dramas by other writers.