painting. In addition, she shows that the other findings of the study carried out by the Prado have all indicated that the picture was painted by Goya; these included the analysis of pigments and binders, assessment of the artistic techniques used and the theme and composition of the painting along with its similarity to Goya's other Black Paintings. In 2009 the art historian Valeriano Bozal, after seeing Mena's press release, stated that "the report is not conclusive". He later unsuccessfully tried to hold a congress of international experts with the objective of arriving at a consensus, declaring in June 2010 that "Goya's authorship has been removed on the basis of weak irrelevant evidence. The heritage of the painting has been mutilated without conclusive evidence". Other scholars, restorers and former directors of the Prado have indicated that they disagree with Mena's hypothesis. On the other side of the argument Manuela Mena refused to definitively conclude that the letters A. J. were the signature of Asensio Juliá, one of the main arguments supporting the attribution of the painting to the Valencian painter. In March 2009, Nigel Glendinning and Jesusa Vega published an article in the academic journal Goya entitled "A failed attempt to delist The Colossus by the Prado Museum?" in which they question the methodology and arguments of Mena's report: Ever since 2001, Juliet Bareau-Wilson and Manuela Mena have questioned Goya's authorship of the painting, postulating that Goya's son, Javier, painted it. In addition, they attribute The Milkmaid of Bordeaux to the goddaughter of painter Rosarito Weiss. However, in an article entitled The problem of the allocations from the 1900 Goya Exposition Nigel Glendinning and the then-director of the Museo del Prado, Fernando Checa, reject these claims. In 2004 Nigel Glendinning also published an article entitled Goya's The Colossus and the patriotic poetry of its time, establishing the relationship between Goya's ideas regarding the giant represented in the picture and the literature that aroused patriotic fervour in a population that had survived the war provoked by Napoleon's invasion of Spain. This conjunction of ideas would not have existed if The Colossus had been painted later, which is an argument that Glendinning uses to refute Bareau-Wilson and Mena's hypothesis. This hypothesis tries to distance the painting from the inventory of the estate of Goya's wife, Josefa Bayeu, on her death in 1812. The inventory lists a painting with the same dimensions as