In this period culture, which in Spain had formerly been the preserve of a limited class, now spread itself more widely, and in the sphere of art was greatly fostered by exhibitions of painting, open to all and sundry, without distinction of social status. Pictures and sculpture, which in other times had been dedicated solely to art and to religious piety, the possessions of kings and grandees, now came into public view, were alluded to in publications of all kinds, and the people, enthusiastic and critical, were brought face to face with their native art. Many artists, perceiving this, hoped to gain popular applause, and consequently worked upon their subjects as seemed most agreeable to the masses. The historical picture in such circumstances seemed to offer the greatest possibilities for achieving a popular reputation. Gisbert painted the popular heroes of the past and was regarded as the representative of those revolutionary tendencies in art which were to triumph several years later. Alisal, Mercade, Palmaroli, Luis Alvarez, careful and excellent artists, painted both historical and _genre_ pictures. From this group arose a most remarkable figure who died whilst still very young, but who has left us a most striking example of his workmanship. This was Eduardo Rosales, the painter of _The Death of Isabel the Catholic_. Rosales represented the Spanish tradition in painting. Averse to foreign influences, he studied and found in the great masters the sources of his art, and his works, both in Spain and beyond it, excited the greatest interest in his time. The picture above mentioned, sober and simple in style, though it must be classed as _genre_ painting, has still many admirable and enduring qualities. The pity is that this group of artists did not follow him; for, flattered by the public acclamation, they entered upon the second period of historical painting, less effective than the first and always conventional, which lasted many years, indeed almost to the present time. For an atmosphere inimical to the traditions of Spanish painting arose, in which this type of historical composition flourished at a time when it had been condemned and forgotten in other countries, where it was forced to give place to those tendencies in which modern painting had its origin.