*Seville. Though a real Spanish city, Seville is never portrayed as a real place. However, it provides a pretext for Pierre-Augustin Caron de Beaumarchais to mention stereotypical Spanish customs, such as singing to the accompaniment of a guitar, an instrument regarded as exotic in France in the 1770’s, and to include spurious supporting color by naming other real places in Spain, such as Madrid, the provinces of Extremadura and Andalucía, and the mountains of Sierra Morena.
Bartholo’s house. Street scene set outside Bartholo’s house enables Beaumarchais to have the count and Figaro meet by chance and to have the count’s hat pulled down low because of the rain, so that he is not immediately recognized. The street decor emphasizes Rosina’s window, later to be seen from inside, through which a note is thrown and through which the conspirators, having stolen the key, will enter.
Rosina’s apartment. With its locked window, this is where Bartholo keeps his ward away from outside contacts, athough Figaro and the count gain access to the apartment. Bartholo’s removal of the ladder from outside the window constitutes the useless precaution which, by preventing the count’s escape, ironically ensures his triumph by trapping him in the apartment with Rosina, the notary, and enough witnesses to have their marriage legally registered.
*Madrid. Spain’s capital city is mentioned several times, partly to emphasize that the action is not taking place in France and partly because it is here that the count first glimpses Rosina. Seville is far from Madrid, and the count’s determination to pursue her so far emphasizes the strength of his passion.
*France. France merits a single ironic mention, when Bartholo contrasts French courtesy toward women, unfavorably as he sees it, with less liberal social attitudes in Spain.