The influence of the art of Goya was not immediate. A contemporary of his is to be remembered in Esteve, who assisted him and copied from him. Later, an artist of considerable talent, Leonardo Alenza, who died very young and had no time to develop his art, was happily inspired by him. With regard to Lucas, a well-known painter whose production was very large, and who flourished many years later, and is now known to have followed Goya, he can scarcely be considered as one of his continuators, but rather as an imitator--by no means the same thing. For he imitated Goya, as, on other occasions, he imitated Velázquez and other artists. Lucas is much more praiseworthy when he follows his own instincts and does original work. His picture _The Auto de Fé_, the property of M. Labat, which was shown at the London exhibition in the room dedicated to artists of the nineteenth century, is one of the best that we know of from his brush. * * * * * If the eighteenth century was for Spanish painting an epoch of external influences, the nineteenth century, especially its second half, must be characterized as one which sought for foreign direction. During this period the greater number of painters of talent sought for inspiration from foreign masters. This was a grave mistake, not because in Spain there were artists of much ability or even good instructors, but because this exodus of Spanish painters was a sign that they had lost faith and confidence in themselves and were strangers to that native force which in the end triumphs in painting as in everything else. First Paris, then Rome, the two most important centres of the art of this period, were undoubtedly centres of a lamentable distortion of Spanish art. The organizing committee did not wish the London exhibition to be lacking in examples of this period of prolific production, to which they dedicated a room in which were shown examples of the painters of the nineteenth century. We mention some of the many artists of talent of the Spain of those days, and indicate their individual characteristics; but we are unable to allude to their general outlook and the characterization of their schools, which we do not think existed among them to any great extent. The most famous painter who succeeded Goya was Vincente López, better known for his portraits than for his other canvases, a skilful artist with a perfect knowledge of technique, conscientious, fecund, minute in detail, who has left us the reflection of a whole generation.