After a picture of the Madrid "Place of Bulls," which is capable of containing eighteen thousand spectators, comes the processional entrance of the _toreros_ or bull-fighters, all in full costume. "The locality selected by Mr Lake Price for this opening scene is the Plaza of Seville; and a most picturesque one it is, although not finished--the usual fate of many splendid beginnings and promises of Spain. The deficient portion lets in, as if on purpose, a view of the glorious cathedral. On grand occasions this side is decorated with flags; and when the last crimson sun ray sets on the Moorish belfry, and brings it out like a pillar of fire, and the flapping banners wave in triumph as the evening breeze springs up, no more beautiful conclusion of a beautiful spectacle can be imagined by poet or painter." Preceding the procession, the _alguazil_, in his ancient Spanish costume of Philip IV.'s day, applies to the chief personage present for the key of the _toril_ or bull-den. When Mr Hoskins visited the circus at Seville--Seville, once "the capital of the bull-fight," but now surpassed by Madrid in the ceremony and magnificence of that spectacle--the Duke de Montpensier occupied the state-box. "The alguazil rode beneath the prince's box for the key of the cell of the bulls, which the prince threw; but in catching it the alguazil displayed such bad horsemanship, that the crowd were convulsed with laughter." The alguazil ought to catch the key in his hat, but seldom does. When he has handed it to one of the _chulos_ or footmen, he gallops off full speed, "amid the hootings of the populace, who instinctively persecute the finisher of the law, as little birds mob a hawk: more than a thousand kind wishes are offered up that the bull may catch and toss him. The brilliant army of combatants now separate like a bursting shell, and take up their respective places, as our fielders do at a cricket-match. The spectacle, which consists of three acts, now commences in earnest; from six to eight bulls are generally killed for the day's feast."
In the first act, the principal performers, besides the bull, are the _picadors_. Mr Price has illustrated their proceedings and exploits in six plates. "When the bull-calf is one year old," says Mr Ford, "his courage is tested by the mounted herdsman, who charges him violently with his _garrocha_, or sharp goad. If the bold brute turns twice on his assailant, facing the steel, he is set apart for the future honours of the arena." Sometimes, when, emerging from his dark cell into the dazzling glare of the amphitheatre, the bull beholds, presented to his charge, the sharp spear of the expectant picador, he calls to mind his calf-days and the keen goad, swerves in his headlong and seemingly irresistible rush, and passes on to a second and a third antagonist. "If still baffled, stunning are the pæans raised in honour of the men. Such bulls as will not fight at all, and show a white feather, become the objects of popular insult and injury; they are hooted at as 'cows,' which is no compliment to a bull, and, as they sneak by the barriers, are mercilessly punished with a forest of _porros_, or lumbering cudgels, with which the mob is provided for the nonce. When the bull is slow to charge, the picador rides out into the arena, and challenges him with his _vara_ (spear.) Should the bull decline his polite invitation and turn tail, he is baited by dogs, which is most degrading." If execrations and abuse are lavished upon a craven, on the other hand frantic is the applause and enthusiasm when the bull displays unusual pluck. Mr Hoskins saw some capital fights.