Here Bomberg encourages the viewer to explore the most ancient part of a city which had captivated him.
Taking a vantage which leads our eyes towards the heart of the old quarter, he reveals the full extent of his fascination.
Here we see the tight-knit structure of the architecture congregated around the historic cathedral in the distance.
Although Bomberg remains faithful to Ronda's identity , there is no hint of topographical dullness anywhere. On the contrary: the marks enlivening his painting have a life of their own. He revels in the dramatic contrast between one side of his composition and the other. On the left, the foreground buildings are relatively dark. Viewed close-to, the freedom of Bomberg's marks makes us realise how far he is prepared here to push himself towards abstraction. On the right, the tall foreground house asserts its substance even while appearing far paler, as if preparing to dissolve in the dramatic brightness of the light.