Started in 1761, it is a typical example of the Spanish Bullring of neoclassical design.
The Bullring is one of the examples in which monument and residence are built at the same time. Construction begins in 1761; Twenty-five years later it has been possible to raise only one third of it, keeping the rest in wood, and it will not be until 1839 when half of the building is finished.
Already by this time they begin to build housing attached to the square around its perimeter, which will continue to be built until the last intervention of Aníbal González in the Home of Royal Maestranza.
When, at last, the building decides to close definitively and it will not do so until 1881 - 120 years have passed, it finds that the houses have stepped on the land. The exact geometry proposed by the original project of Vicente San Martín, in 1771, is that it can no longer be inscribed in the rest of the site that the Plaza now has, and it has to accept the commitment involved in locating existing houses. What will make the shape of the ring is not strictly geometric, a fact that as we have seen is only explicable from the very process of construction of the monument.
It could be said that the monument is not just the bullring but the whole triangular block where the boundaries between the square and the residential continuum are diluted in a series of spaces (Circus Street) that take on the value of those other, so frequent in the city, as the halt, the compass of a convent, the gates of the hamlet, which will solve this ambiguous relationship between the building and the street, the monument and the city.
The Plaza has been built at the same time as the farmhouse, almost like a house more of the environment, with the same implications and equal easements, this is denoted, for example, in the irregularity of the plant, due to the fact that when expanding in the time the construction process, the houses that were built nearby occupied part of the lot destined to the square, finally having to accommodate its geometry to the existing space, resulting in a slightly ovoid ring.
The stand is divided into two areas, the lower one discovered and the upper one covered with a gallery of arches.
As the most emblematic and recognizable element, within the complex process of insertion of the square with the bays of houses, the facade of the same one stands out.
The cover constitutes a set of three bodies, one central that houses the entrance door and two lateral ones that adopt the scheme of towers.
The central body is resolved with a vain topped by a semicircular arch and flanked by Tuscan columns that support the balcony above the door, it is also flanked by two columns that serve as support in turn to the triangular pediment that tops this body central. The balcony is the external expression of the royal box, a room covered with a Greco-Roman style vault and decorated with carving work.
The lateral bodies in the form of towers have lower doors on the ground floor than the central one, with profuse decoration and simple jambs molded on the upper floor. Its roofs are solved by means of roofs that at the meeting points of the skirts present decorative finials.
The rest of the façade is of two sections, the lower one is covered by a roof with openwork parapets and the upper one has arches of half a point on marble columns that correspond to those of the interior.

Fuente: bdi del Patrimonio Inmueble de Andalucía (Junta de Andalucía)