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Architecture
It has a very specific base surrounded by octagonal shafts

In 1754, the Royal Maestranza of Cavalary of Ronda made the decision to construct a building designated for horse practice exercises and bullfights, which had previously taken place in the Alameda de San Francisco bullring and the square around the Santa María la Mayor Church. Festivities had already started to take place inside even prior to completion of the works and it was officially opened on 19 May 1785, with a bullfight featuring Pedro Romero and Pepe Hillo. The site chosen to build the bullring was a clearing located on the outskirts of the city. It is now considered to be the oldest standing building, constructed expressly with theses festivities in mind with no association to houses or hermitages.

It has a very specific base surrounded by octagonal shafts that were essential in the construction of this type of building. The front door was originally situated opposite the president's office on the intersection between the Puente Nuevo bridge under construction and the Royal Box and the door leading to the bull pens. Large doors are located over the other axis; after being speared, the bull was dragged through the western door from the ring.

It has a layout of three concentric rings giving it a circular shape, and the outer and middle walls are made of stone with mud and lime mortar. The inner ring consists of one long series of arches making up an arcade, with a diameter of 64.45m.

Tuscan columns

Double arches in the interior are superimposed in a yellowy hue that gives it a unique texture and colour. This arcade consists of very low arches held up by Tuscan columns.

The second floor is lower than the first with a wrought iron railing between the columns. The four arches belonging to the axes are somewhat higher than the rest, and the arch featuring over the Royal box is particularly eye--catching owing to its lavish floral design and grooved tambour columns. It has several stone torch-like pinnacles, which criss-cross the vertical of each column on the cornice. A gutter is carved into the cornice stone which disposes of the water through small rose windows.

The ground floor seating area was made of Spanish fir wood while the upper floor held box seating and no stalls. This layout harks back to the public bullfighting rings that were built specifically for bullfighting and horse festivals. The first set of columns are set on a stone wall base like that of an amphitheatre, bored with openings to allow access from the stands into the arena, a practice that was mainly seen in the bullfights with young bulls.

The barrier was later constructed

The barrier was later constructed, which was unusual in its composition of stone and wood aligned with the doors to the bull pens, in turn reducing the diameter of the ring to its current measurement of 60 meters. The four doors situated in the centre of each quarter dividing the bullring through the two main accesses provided access to the bullfighter's refuge.

The first floor consists of an outer alternating continuous solid and hollow façade, with a parapet railing. The popular look of today is a stark contrast to the nobility of the stone found inside with the two different effects reflecting bullfighting culture. The main door was moved to its current location at Calle Virgen de la Paz, doing away with the original design of the entrance. This change was due to the construction of the former Vicente Espinel Theatre, which partially obscured the view of the door. This semi-circular arched door is squeezed between two large Tuscan columns which hold up the entablature. The crest of Spain used during the reign of Charles III can be seen in the centre of the tympanum. The wrought iron balcony with embossed bucranium and bullfighting motifs is a `prominent feature.

At the beginning of the 19th century, a decision was made to construct a livery, owing to the state of disrepair of the ground within the ring caused by the horses that galloped through it every day. It was constructed beyond the bullring next to the bull pens, and was rectangular in shape, measuring 36m x 22.5m wall to wall, lowered to protect the legs. Several boxes or terraces were added to this rectangle where the horses could be watched and directed while carrying out their exercises. This livery doubled up as a bullpen for an extended period of time.

Diego Albarracín: "The Ronda Royal Maestranza of Cavalry's Bullring", in: Hommage to Cayetano Ordóñez "Niño de la Palma" and Antonio Ordóñez, the bullfighers of Ronda.
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