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Muleta

The muleta is a small red cape affixed to a wooden staff, wielded by the matador in the final stage of Spanish-style bullfighting, known as the tercio de muleta or faena, to execute precise passes that fatigue and position the bull for the lethal sword thrust, or estocada.^[1]^[2] This phase emphasizes the matador's skill in close-quarters maneuvering, distinguishing it from earlier stages where the larger capote cape is used for broader movements.^[3] The muleta's scarlet color, traditionally heavy serge cloth, primarily conceals bloodstains from spectators and the bull during the often gory conclusion, rather than provoking the animal through hue, as bulls possess dichromatic vision and respond chiefly to the cape's rapid motion.^[4]^[5] This dispels the common misconception that red enrages bulls, rooted instead in the dynamic agitation of the fabric. Originating in the 18th-century evolution of bullfighting formalized by figures like Francisco Romero, the muleta became integral to the modern corrida de toros, symbolizing the ritual's artistic and perilous climax.^[6] While central to bullfighting's aesthetic of bravery and technique, the muleta's use underscores broader debates on the practice's ethics, with critics decrying the orchestrated bull's death as cruelty, though proponents view it as cultural heritage preserving selective breeding of combat-ready toros bravos.^[4] In contemporary Spain and Latin America, where bullfighting persists amid declining attendance, the muleta remains an emblem of tradition amid animal rights challenges.

Overview and Description

Physical Form and Function

The muleta consists of a rectangular red flannel cloth, typically measuring approximately 155 cm by 90 cm and weighing around 1.5 kg, draped over a wooden stick known as the estaquillador, which is about 56 cm in length.^[7]^[8] The cloth is manipulated by the matador using one hand while the other holds the sword, with the muleta often folded to create a narrower profile for precise control during passes.^[9] In the tercio de muleta, the final phase of the bullfight, the muleta serves to attract and guide the bull through a series of stylized passes, allowing the matador to demonstrate skill, proximity, and dominance while further exhausting the animal.^[7] These maneuvers position the bull for the estocada, the lethal sword thrust, with the muleta concealing the weapon to maintain the bull's focus on the cloth's movement rather than the impending danger.^[3] Contrary to popular belief, the red coloration of the muleta does not provoke the bull due to color perception, as cattle possess dichromatic vision and cannot distinguish red from green, responding instead to the motion of the waving cloth.^[4] The hue primarily functions to mask bloodstains from the audience, minimizing visual distraction during the bloodier final stages.^[10]^[5]

Distinction from Other Bullfighting Equipment

The muleta, a red flannel cloth approximately 1.5 meters long and 0.7 meters wide draped over a wooden or hollow metal stick (palo de muleta) about 55-60 cm in length, is employed exclusively during the final tercio de muleta in Spanish-style bullfighting, where the matador performs artistic passes (pases) to fatigue and position the bull for the kill.^[11] In contrast, the capote de brega, a larger silk cape measuring around 4-5 meters when unfolded with one side magenta and the other yellow, is used in the initial tercios for lances (cape work) to test the bull's responses and evade charges, allowing greater mobility and sweeping motions with both hands or folded over one arm.^[12] The muleta's rigid structure and one-handed grip facilitate precise, close-range maneuvers that demand superior technique, as it conceals the espada (sword) and requires the matador to expose himself more vulnerably, unlike the capote's flexible, billowing form suited for distance and deception.^[11] Unlike banderillas, which are paired steel-barbed darts adorned with colorful paper and ribbons, weighing about 500-600 grams each and thrown by banderilleros into the bull's withers during the preceding tercio de banderillas to weaken its neck muscles and lower its head, the muleta serves no wounding function but acts as a visual lure for controlled passes such as the natural or verónica variants adapted for footwork.^[13] The espada, a straight sword (estoque) of 80-90 cm length with a sharp point for the estocada (thrust into the heart), is integrated with the muleta by being hidden behind it during the faena, distinguishing the muleta's role in both provocation and execution from the espada's lethal purpose alone.^[13] Further differentiating the muleta from ancillary tools like the puya (lance used by mounted picadors to pierce the bull's shoulders in the tercio de varas, aiming to impair respiratory capacity), the muleta emphasizes the matador's personal artistry and risk in the arena's climax, without mechanical aids or horseback support, relying instead on the cloth's weight (typically 1-2 kg including the stick) and the bull's conditioned aggression toward movement rather than color.^[12] This phased specialization underscores the muleta's evolution as a tool for the "faena" (artistic display), setting it apart from earlier equipment focused on preliminary weakening or initial assessment.^[11]

Historical Origins

Invention and Francisco Romero

Francisco Romero, born around 1700 in Ronda, Spain, is credited with inventing the muleta, a small red cape attached to a wooden staff, which revolutionized bullfighting by enabling matadors to perform on foot rather than horseback.^[14]^[6] Prior to this innovation, bullfighting primarily involved mounted lancers confronting bulls from a distance, limiting close-range maneuvers; Romero's muleta allowed for precise, stationary passes that demanded greater skill and exposed the fighter to higher risk.^[15] He reportedly first employed the muleta in 1726, marking the transition to modern Spanish-style tauromachy where the matador uses the cape to lure and control the bull while preparing for the sword thrust.^[16] Romero's background as a carpenter may have influenced the muleta's practical design, consisting of a rigid pole supporting the folded cloth to facilitate one-handed operation alongside the sword.^[14] This tool shifted the emphasis from brute force and equine aid to artistry and timing, establishing foundational techniques still used today.^[17] His contributions extended beyond the muleta, as he also systematized the use of the espada (sword) for the estocada kill, formalizing the tercio de muleta phase. Romero's innovations were disseminated through his family dynasty, with descendants like grandson Pedro Romero further refining on-foot bullfighting in Ronda's arenas.^[18] While primary documents from the era are scarce, contemporary accounts and later historical records consistently attribute the muleta's origin to Romero, underscoring his role in professionalizing the spectacle amid 18th-century Europe's evolving public entertainments.^[19] This development aligned with broader cultural shifts in Spain, where regional festivals increasingly favored pedestrian confrontations over equestrian displays, though debates persist on whether Romero originated the practice outright or adapted existing informal techniques.^[20]

Integration into Modern Bullfighting

The muleta's integration into bullfighting began with its introduction by Francisco Romero of Ronda around 1726, which marked the transition from equestrian to on-foot combat as the dominant form of the spectacle. Prior to this, bullfights primarily involved mounted toreros using lances and spears, with the kill often executed from horseback; Romero's use of the muleta alongside a curved sword allowed matadors to engage bulls directly on foot, emphasizing personal dexterity and proximity to the animal.^[6]^[17] This shift elevated the matador's role from auxiliary performer to central artist, laying the foundation for the structured tercios observed in contemporary corridas.^[14] By the mid-18th century, the muleta had become a standard element, particularly in the final tercio de muleta (or tercio de muerte), where it facilitates the faena—a sequence of passes designed to exhaust the bull and showcase the matador's command. Romero's descendants, including his son Juan and grandson Pedro, further popularized these techniques in Ronda and Seville, spreading the practice across Spain and influencing regional variants.^[16] The muleta's red cloth, manipulated to exploit the bull's color-blind aggression toward movement rather than hue, enabled innovative suertes such as the natural (pass with the muleta alone) and the pase de pecho, which demanded unprecedented closeness and timing.^[21] This evolution solidified by the early 19th century, as evidenced by the codification of bullfighting rules in royal decrees and the rise of professional matadors who refined muleta work into an aesthetic pinnacle. For instance, the 1830s saw increased emphasis on the muleta in major plazas like Madrid's Plaza de Toros, where it became integral to earning audience acclaim through awards like the oreja (ear) for superior faenas.^[22] The tool's adoption not only heightened the event's danger—evidenced by rising goring incidents documented in contemporary accounts—but also transformed bullfighting into a formalized art form, distinct from earlier folk customs.^[23]

Construction and Materials

Traditional Materials

The muleta is traditionally constructed from a wooden staff, referred to as the estaquillador or palillo, typically fashioned from durable hardwood to withstand the physical demands of manipulation during the bullfight. This staff measures approximately 50 to 60 centimeters in length, providing the matador with a rigid handle and extension for precise control.^[24]^[25] Attached to the end of the staff is a rectangular or heart-shaped cloth made of heavy cotton serge or woolen flannel, dyed scarlet red to facilitate visibility and conceal blood during use. The fabric weighs around 1.5 kilograms and unfolds to dimensions of roughly 155 by 90 centimeters, allowing for fluid passes while maintaining sufficient heft to attract the bull's charges.^[9]^[8]^[26] The cloth is secured to the staff via hooks, ties, or folds at one end, enabling the matador to drape it partially over the wood for the initial setup and unfurl it as needed for techniques like the natural or derechazo. These materials, rooted in 18th-century practices following Francisco Romero's introduction of the muleta around 1726, prioritize durability, weight balance, and deceptive movement over decorative elements.^[24]^[9]

Variations and Modern Adaptations

While traditional muletas adhere closely to established forms, variations exist in dimensions and heft to accommodate the matador's physique, fighting style, and on-site factors like wind or moisture, with heights typically around 90-100 cm, lengths up to 180 cm, and weights between 1.4 and 2 kg for professional models.^[27]^[28] These customizations ensure the cloth maintains sufficient rigidity when soaked in water for added weight and draping effect during passes, without compromising maneuverability.^[28] In the 20th and 21st centuries, adaptations have incorporated modern textiles, such as treated synthetic fabrics that are lighter yet more tear-resistant than historical wool or silk, enabling finer control and sustained performance over extended faenas.^[29]^[11] The supporting wooden asta (stick) also sees minor length adjustments, generally shorter than the capote's to support tighter, more intimate engagements with the bull.^[3] These refinements prioritize functional efficacy over aesthetic deviation, preserving the muleta's core role in the tercio de muerte while adapting to contemporary demands for durability.^[29]

Techniques and Usage

Passes with the Muleta

The passes executed with the muleta form the core of the faena, the matador's solo performance in the bullfight's third tercio, aimed at subduing the bull through precise control and proximity while preparing for the kill. Typically structured in tandas—series of three to five linked passes ending in a remate such as a pase de pecho—these maneuvers demand the matador hold the muleta in one hand (often the left for left-handed passes) with the sword gripped in the right, concealed behind the cloth to lower the bull's head. The objective is to exploit the bull's weakened state post-picadors, channeling its charges into graceful arcs that highlight the matador's dominance, bravery, and technical mastery, often eliciting "¡olé!" from spectators for fluid execution.^[24]^[2] Fundamental passes include the naturales, the standard left-handed technique where the matador plants feet together, extends the muleta low and to the left to cite the bull, and pivots minimally as the animal charges and follows the cloth in a curving trajectory past the body. This pass emphasizes naturalness and risk, as the matador remains nearly stationary, relying on the bull's forward momentum for the exit.^[24] Derechazos provide a right-handed counterpart, mirroring the naturales' form but shifting the muleta to the right hand, which suits bulls with a rightward bias and allows variation in tanda construction to test the animal's predictability.^[24] Advanced and adornos incorporate flair once basic control is established, such as the manoletina, a serial right-handed sequence invented by matador Manolete in the 1940s, where the muleta is drawn taut across the front of the body for tight, repetitive passes that amplify tension through minimal cloth exposure. Other variants include the molinete, a spinning flourish wrapping the muleta around the matador as the bull passes, and faroles or galleos, which tease with brief, deceptive flourishes to adorn the series.^[2] Passes are adapted by height—bajos (low) for noble, charging bulls to provoke deeper commitments, or altos (high) for fatigued animals—and by position, with cambiados like the pase de pecho raising the muleta to guide the bull chest-to-tail in a remate, or ayudados performed sideways near the barrier for assisted control.^[24] These techniques culminate in positioning the bull for the estocada, with the faena's length varying by the bull's vigor—typically five to ten minutes—prioritizing aesthetic purity over haste to maximize artistic impact and potential awards like ear trophies for exemplary dominance.^[24]

Role in the Estocada

In the estocada, the final sword thrust intended to kill the bull by severing the aorta or piercing the heart between the shoulder blades, the muleta serves to direct the bull's charge while concealing the espada (sword).^[30] The matador typically holds the muleta, folded and supported by a wooden rod, in the left hand to attract the bull's attention and guide its lowered head toward the cloth, positioning the animal for a clean entry of the sword held in the right hand.^[31]^[3] This maneuver exploits the bull's fixation on the moving muleta, allowing the matador to step into or receive the charge and deliver the thrust as the bull passes closely, often within centimeters of the horns.^[32] The technique requires the muleta to be manipulated with precision to maintain the bull's straight-line momentum and prevent deviation, which could result in a deflected sword or injury to the matador; improper use may necessitate additional efforts like the descabello to sever the spinal cord if the initial estocada fails to kill instantly.^[24] In the classical estocada recibiendo variant, the matador stands firm, using the muleta to provoke a direct assault into the stationary sword point, heightening the display of dominance and risk.^[33] Success in this phase hinges on prior faena passes with the muleta, which fatigue the bull and condition it to follow the cloth reliably, ensuring the estocada achieves the hilt-deep penetration deemed ideal for a humane and artistically complete kill.^[34]^[30]

Cultural and Symbolic Role

Symbolism in Spanish Tradition

In Spanish bullfighting tradition, the muleta embodies the culmination of the matador's artistry and confrontation with mortality during the tercio de muerte, the final third of the bullfight where the bull is dispatched. Introduced in the 18th century by Francisco Romero, it enables the execution of muletazos—precise, flowing passes that showcase the torero's technical mastery, courage, and aesthetic control over the bull's primal aggression. These movements symbolize the triumph of human intellect and grace over brute force, transforming a lethal encounter into a ritualized display of dominance and harmony between man and beast.^[35]^[36] The muleta's crimson hue carries layered symbolism, evoking the spilled blood of the ritual sacrifice, the passion inherent in the spectacle, and the life-or-death stakes of the faena (the work with the muleta). Though empirical observations confirm bulls charge due to motion rather than color perception—owing to their dichromatic vision—the red fabric traditionally underscores themes of vitality, danger, and renewal in tauromaquia, aligning with cultural veneration of the bull as an emblem of strength and virility since ancient Iberian practices. This color choice reinforces the event's dramatic intensity, positioning the matador as a heroic figure embodying Spanish ideals of honor (honra) and valor in facing inevitable peril.^[37]^[19] Beyond mechanics, the muleta sacralizes the bullfight as an art form (arte), where the torero's extension of self through the cloth challenges spatial and existential boundaries, affirming supremacy and inviting aesthetic judgment from aficionados. In broader Spanish cultural lore, it represents the eternal struggle of order against chaos, a motif traceable to prehistoric cave art depicting human-bull interactions, evolved into a formalized liturgy that preserves national identity amid modernization. Proponents of tauromaquia view masterful muleta work as transcendent, akin to dance or poetry, where flawless execution (temple and quietud) elevates the participant to near-mythic status, as exemplified by figures like Juan Belmonte in the early 20th century.^[36]^[3]

Misconceptions About Color and Bull Behavior

A common misconception holds that bulls charge at the muleta due to its red color, which is thought to enrage them specifically.^[4] In reality, bulls possess dichromatic color vision, relying on two types of cone photoreceptors sensitive to short (blue-violet) and medium-to-long (yellow-green) wavelengths, rendering them unable to distinguish red from green or gray.^[38] This visual limitation means the red hue of the muleta appears as a neutral tone to the bull, similar to other muted shades.^[39] Scientific experiments confirm that bulls react primarily to the motion of the cape rather than its color. For instance, tests conducted by the television program MythBusters in 2008 demonstrated that bulls charged with comparable aggression at moving capes dyed white, blue, or green, showing no preferential response to red.^[5] Behavioral studies on cattle further support this, indicating that sudden movements trigger a fight-or-flight response irrespective of chromatic cues, as bulls prioritize detecting contrast and motion for threat assessment.^[4] The red color of the muleta, introduced in the 19th century, serves practical purposes for human spectators—such as masking bloodstains during the fight—rather than influencing bull behavior.^[5] This myth likely persists due to cultural depictions in media and folklore, which anthropomorphize the bull's aggression by attributing it to color preference, overlooking the animal's limited spectral discrimination.^[40] Veterinary and ethological research emphasizes that factors like the bull's prior agitation from lancing, the matador's proximity, and the cape's fluttering motion are the true provocations in the bullring.^[39]

Controversies and Debates

Animal Welfare Criticisms

Animal welfare critics contend that the faena with the muleta, occurring after the bull has sustained blood loss and muscle trauma from lances and banderillas, forces the animal into repeated high-intensity sprints that accelerate metabolic exhaustion and tissue damage.^[41] These charges, often numbering in the dozens during elaborate performances, trigger anaerobic glycolysis, resulting in hyperlactatemia, metabolic acidosis with blood pH dropping below 7.2, and elevated levels of stress hormones like cortisol and catecholamines.^[41] Such responses, documented in postmortem analyses of fighting bulls, indicate profound physiological strain akin to hypovolemic shock and cellular edema, prolonging suffering before the estocada.^[41] Behavioral ethologist Jordi Casamitjana argues that bulls display clear indicators of fear and stress during muleta passes, including attempts to flee the arena, tongue protrusion from respiratory distress, and diminished head carriage as fatigue sets in, behaviors inconsistent with mere instinctual aggression but reflective of adverse emotional states.^[42] Veterinary assessments corroborate this, noting that the phase exacerbates ligament, tendon, and nerve injuries from earlier stages, leaving the bull in a state of defensive panic—pressing against barriers or exhibiting erratic movements—while subordinates continue provocation to facilitate the kill.^[43] Critics from organizations like AVATMA, led by veterinarian José Enrique Zaldívar, emphasize that imprecise sword thrusts following muleta work often fail to sever the aorta or spinal cord immediately, leading to prolonged asphyxiation or exsanguination while the bull remains conscious, with some requiring up to 12 additional strikes via descabello or puntilla to induce death.^[43] This sequence, they assert, transforms an already debilitated animal's final moments into extended torment for human spectacle, as nociceptor activation from wounds transmits pain signals through the bull's intact central nervous system.^[41] Empirical biomarkers, including myoglobinuria and spikes in creatine kinase from muscle necrosis, further substantiate claims of unnecessary agony, with bulls frequently collapsing due to osteochondrosis prevalent in 70% of cases.^[41]

Cultural and Artistic Defenses

The muleta phase of bullfighting, known as the tercio de muleta, is defended by proponents as the artistic climax of tauromaquia, where the matador demonstrates exceptional technical proficiency, spatial awareness, and personal valor by executing precise passes that guide the bull's charges while concealing the killing sword.^[3] This segment demands the bullfighter challenge the animal's instincts through rhythmic movements, transforming raw confrontation into a choreographed display of dominance that tests the limits of human capability against untamed nature.^[19] Ernest Hemingway articulated this aesthetic dimension in Death in the Afternoon (1932), describing bullfighting as "the only art in which the artist is in danger of death and in which the degree of brilliance in the performance is left to the fighter's honor," with the muleta work exemplifying the performer's reliance on innate skill and ethical commitment amid mortal risk.^[44] ^[45] Advocates contend that such defenses counter animal welfare critiques by emphasizing the form's ritualistic structure, which parallels ancient spectacles and elevates individual bravery to a cultural archetype, rather than gratuitous violence.^[46] In Spain, bullfighting's cultural status, encompassing muleta techniques, received formal affirmation through a 2013 parliamentary declaration designating it a national heritage element worthy of preservation, underscoring its role in fostering communal identity during traditional festivals like the San Fermín encierros and regional ferias.^[47] This recognition highlights tauromaquia's embedded traditions, where the muleta symbolizes not mere provocation but a stylized affirmation of historical resilience, influencing broader artistic expressions in literature, painting, and sculpture that capture the spectacle's dramatic essence.^[48]^[49]

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Bullfighting: Moral Good or Unnecessary Cruelty?
Feb 13, 2018 · Bullfighting, according to Wolff, is about entertainment and art, not about the intrinsic suffering of an animal, in the same manner that ...
[47]
https://english.elpais.com/spain/2025-10-22/the-debate-over-bullfighting-a-cultural-and-political-battle-that-still-divides-spain.html
[48]
The Bull and the Arts - Real Maestranza de Caballería de Sevilla
The Bullfighting Festival has been a subject treated by artists of different types in all the expressive disciplines · Literature · Cinema · Sculpture · Painting ...
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[PDF] THE ART OF BULLFIGHTING - Visita Sevilla
The art of bullfighting developed with those first contacts with bulls, reaching what we know nowadays as La Lidia (The Bullfight) of the Spanish Fighting Bull.<|separator|>