Villalta kills though in a way no gypsy ever killed and it would he unfair to show how silly he looks with his feet apart and not show him leaning in after the sword.

While when he gets his feet together he will do things like this that you see here; the bull is coming by his legs and as you watch he will spin with him so close the blood from the bull's shoulder will come off onto Villalta's belly. There is great demand for this and only Nicanor can do it.

Here you have him spinning and if there is no blood on his belly afterwards you ought to get your money back.

The year before he died

Maera in a pair of banderillas. Notice how the arms are raised and how straight the body is held. The straighter the body and the higher the arms the closer the bull's horn can come to the man.

Maera citing the bull for the second of four pairs of banderillas he placed at Pamplona in 1924; citing for each pair from such an increasingly dangerous and seemingly impossible terrain that after the second pair the audience were all shouting together "No! No! No! No!" begging him not to take such risks. He placed all four pairs perfectly in the manner and terrain that he chose, performed a brilliant faena and killed the bull as well as a bull could be killed. He had not been to bed the night before and had taken part in the amateur fight at seven o'clock that same morning.

Maera in his characteristic right-handed pass made in the manner of a pase de pecho.

Ignacio Sanchez Mejias, Maera's only rival as a banderillero in difficult and impossible terrains, placing a pair and letting the bull's horn come so close that it is ripping the gold embroidery from his right trouser leg.

Ignacio Sanchez Mejias cheating in the placing of a pair of banderillas through having a number of capes flopping to take the bull away from the man as he places the sticks. Note, however, how well all the banderillas are placed together.

The beginning of the faena. Luis Freg in the pase de la muerte in Madrid.

The end of the faena. Luis Freg in the hospital with a cornada in his chest. Note the scars on the right leg, the scar in the left armpit, and the unplaited lock of hair, that when braided makes the pigtail that was formerly the caste mark of a bullfighter.

Rafael Gomez y Ortega, called El Gallo, standing in the entrance to the Madrid ring with his young brother, José, called Joselito or Gallito, at the start of Joselito's career as a matador. El Gallo is on the left, Joselito beside him. Fourth from the left is Enrique Berenguet, called Blanquet, the confidential banderillero of Joselito. The matador on the right is Paco Madrid of Malaga.

Joselito in a pase natural at the start of his career. Note how, without any contortions, with complete naturalness, with no cork-screwing or faking, he is passing the horn past his belly; bringing the bull around controlled by the swinging end of the cloth that the man is keeping before his far eve.

Joselito, at eighteen, watching a Miura bull that he has killed swaying on his legs before going over on his back, four legs in the air.

Joselito working with a difficult bull, provoking the charge with his leg; then doubling the bull on himself with the muleta, making him attempt to turn in a shorter space than his own length to tire him.

Joselito at the height of his career, working close, dominating the bull with absolute security, knowing just how much swing of the cloth will move him, controlled a step at a time, and how much more will provoke the full charge. His intelligence and security and the closeness with which he worked made all the bulls look easy to handle. Blanquet, standing by the white-marked burladero, knowing as much about bulls as Joselito, is the only one in all the audience who looks worried.

Joselito the spring he was killed, fat and out of condition after a winter in Lima, Peru, citing an uncertain bull to charge. The bull is slow to start and Joselito, reluctant to rise from his knees and admit his proposal to pass the bull with both knees on the ground was a failure, has just taken out his pocket handkerchief and thrown it at the bull to start him.

The bull comes (the handkerchief still shows on the ground) and Joselito passes him with the muleta without rising from his knees or having to sway back, having calculated exactly the angle the bull will take in his charge.

Joselito taking a bull out a step at a time from the querencia or position he has taken by the barrera; talking to the bull, working on the eye furthest away from the man with the end of the cloth that he imparts a swinging, flicking motion to with his wrist; exposing his own body to give the bull confidence that there is something to charge and yet keeping the animal's main point of vision on the cloth and controlling his impulse to charge with that wrist movement. A brave bull is easy to work with if the man is brave and technically sound; it is the cowardly bull and the uncertain bull that call for most intelligent and careful handling since they will charge as fast as the brave bull but there is no way of knowing when the charge may come.

Here are the naturals of Joselito and Belmonte; the touchstones of their art. Joselito, below, is healthy, sound, natural, his physique and knowledge enabling him to keep the bull well controlled in the muleta. Belmonte, above, is natural in that there is no distortion of his body by himself, but he takes the bull from a more dangerous angle, he emphasizes his peril at the same time as his domination and he has a sinister delicacy of movement that Joselito lacks.