are decorated with silk hangings and closed by curtains. Next to them is the box of the ayuntamiento (municipal authorities), who preside over the sports, and whose duty it is to settle any dispute that may arise.
The circus, thus arranged, contains twelve thousand spectators, all seated at their ease, and enjoying a clear view of everything going forward, – a most indispensable condition in an amusement that is purely ocular. The immense building is always full; and those who are unable to procure plazas de sombra (places in the shade) prefer being broiled alive in the uncovered seats, to missing one fight. It is considered as indispensable by those persons who pride themselves on their gentility to have a box at the bull-fights in Madrid, as it is by Parisians of fashion to possess one at the Italian Opera.
On issuing from the outward corridor to proceed to my place, I was seized with a sort of sudden giddiness. The circus was bathed in torrents of light, for the sun is a chandelier of a very superior description, which possesses the advantage of not spilling the oil upon those beneath, and which not even gas will supersede for some time to come. An immense humming floated like a fog of noise over the arena. On the sunny side of the building palpitated and glistened thousands of fans and little round parasols with handles made of reed. They looked like flocks of birds, of ever-varying hues attempting to fly. There was not one place empty. I can assure the reader that it is in itself a grand sight to see twelve thousand people assembled in a theatre of such a size, that heaven alone is capable of painting the ceiling with the blue which it procures from the palette of eternity.
A detachment of the cavalry of the National Guard, exceedingly well mounted and equipped, now rode round the arena, preceded by two alguazils in their costume, which consists of a large broad-brimmed hat and feather, in the style of Henri IV., black doublet and cloak, and large boots. Their duty was to drive away some few obstinate aficionados and certain dogs that were still loitering in the ring. As soon as this was effected, the alguazils went and fetched the toreros, under which term are included the picadores, chulos, banderilleros, and the espada, who is the principal performer in the drama. These personages made their entry to a flourish of trumpets. The picadores were mounted on horses with their eyes hooded, as the sight of the bull might frighten them and cause them to shy, thereby endangering the safety of their riders. The costume of the picadores is highly picturesque. It is composed of a short vest, which does not button, of orange, carnation, green or blue velvet, loaded with gold or silver embroidery and spangles, fringe, filigree buttons and ornaments of all kinds, especially on the shoulders, where the stuff is completely hidden beneath a glittering and phosphorescent mass of twisted arabesque-work. Under this is a waistcoat in the same style, a frilled shirt, a variegated neck-handkerchief tied carelessly round the neck, and a silk sash round the waist. Their pantaloons are of fawn-coloured buff, stuffed inside and lined with thin metal plates, like the boots of the French postilions, in order to protect the wearers' legs from being gored by the bull. A grey, low-crowned hat (sombrero), with an immense brim, and ornamented with an enormous tuft of favours, and a large mesh or net of black ribbons, which is called, I believe, a moño, and holds the hair gathered up in a pigtail at the back of the head, complete the dress. The picador is armed with a lance, at the end of which is an iron spike two or three inches long. This spike cannot wound the bull dangerously, but is enough to irritate or keep him at bay. A piece of leather fitted to the picador's hand, prevents the lance from slipping. The saddle rises very high, both behind and before, and resembles those strengthened with iron plates, in which the knights of the Middle Ages used to be buried in the tournaments. The stirrups are made of wood, and form a kind of shoe, like the Turkish stirrups. A long, iron spur, as sharp as a dagger, is fixed in the rider's heel. An ordinary spur would not be sufficient to govern the horses, who are often half dead.
The chulos present a very nimble and natty appearance with their breeches of green, blue, or rose-coloured satin, their jacket ornamented with various patterns and flowers, their tight girdle, and their little montera cocked knowingly on one ear. On their arm they carry a piece of cloth (capa), which they unroll and agitate before the bull's eyes for the purpose of exciting, dazzling, and deceiving him. They are all young men, well built, spare and slim, differing in this respect from the picadores, who are, in general, remarkable for their height and athletic proportions; the picadores require strength, and the chulos agility.
The banderilleros wear the same costume as the chulos. It is their especial duty to plant a kind of dart, tipped with an iron barb and ornamented with pieces of paper, in the bull's shoulder. These darts are called banderillas, and are employed to revive the animal's fury and lash him up to the pitch of exasperation necessary to make him present a fair aim to the sword of the matador. The banderillero has to plant two banderillas at a time; in order to do this, he must pass his two arms between the bull's horns, a delicate kind of operation, in performing which it might, perhaps, be rather dangerous for a person to be thinking of anything else.
The espada differs from the banderilleros only by the fact of his having a richer and more highly ornamented costume, which is sometimes of purple silk, a colour particularly offensive to the bull. His weapons consist of a long sword, with a handle in the shape of a cross, and a piece of scarlet cloth stretched on a long stick; the technical term for this kind of waving shield, is muleta. The reader is, at present, acquainted with the theatre and the actors. I will now show the latter enacting their various parts.
The picadores, escorted by the chulos, first go up and bow to the box of the ayuntamiento, whence the keys of the toril are thrown out to them. These are picked up and delivered to the alguazil, who gives them to the groom of the ring, and then gallops off as hard as he can, pursued by the shouts and cries of the crowd; for the alguazils, as well as all the other representatives of justice, are not much more popular in Spain than the gendarmes and sergents-de-ville are in France. Meanwhile, the two picadores take up their position to the left of the door of the toril, which is situated directly opposite the royal box, because the bull's entry is one of the most interesting parts of the fight. The picadores are stationed at a very little distance from each other, with their backs to the tablas, firmly seated in their saddles, holding their lances couched, and valiantly prepared to receive the beast. The chulos and banderilleros station themselves at some distance off, or disperse themselves over the arena.
All these preparations, which appear longer in description than they are in reality, excite the curiosity of the public to the highest pitch. Every person looks anxiously at the fatal door, and out of the twelve thousand spectators present, not one takes his eyes off it. At this moment, the loveliest woman in the world might beg in vain for a single glance.
For my own part, I frankly confess that I felt as oppressed as if my heart had been clutched by some invisible hand. I experienced a strange buzzing in my ears, and the perspiration, alternately hot and cold, ran down my back. I never felt more excited in my life.
A shrill flourish of trumpets was now heard; the red folding-doors were thrown wide open with a loud noise, and the bull rushed into the arena, in the midst of an immense hurrah.
He was a superb animal, with a glossy coat, almost black, an enormous dewlap, a square muzzle, sharp, polished, curving horns, clean-made legs, and a tail that was always in motion. Between his shoulders he had a bunch of ribbons, fastened by a large pin, and representing the colours of his ganaderia. Dazzled by the light of day, and astonished at the tumult, he stopped short for a second, and snuffed the air twice or thrice; then, perceiving the nearest picador, he made a furious bound, and tore towards him at full gallop.
The picador who was thus singled out was Sevilla. I cannot refrain from taking this opportunity to describe this famous Sevilla, who is really the beau-ideal of his class. Imagine a man of about thirty years of age, of a noble expression and demeanour; as robust as Hercules, as bronzed as a mulatto, with superb eyes, and a physiognomy like that of one of Titian's Cæsars. The expression of jovial, contemptuous serenity in his features and bearing,
