surrounds and highlights the clouds that encircle the giant's waist as described in Arriaza's poem: This slanting light is fractured and interrupted by the mountain peaks increasing the sensation of disequilibrium and disorder. The effect is similar to Luis de Góngora's famous "dubious daylight" (Fable of Polyphemus and Galatea v. 72.). Instead of a centripetal composition where all the indications point towards a central nucleus, in this painting all the lines of movement shatter the unity of the image into multiple paths towards its margins. The painting can be considered to be an example of the many Romanticist paintings with an organic composition (in this case centrifugal), in relation to the movements and actions of the figures within the painting. This can be contrasted with the mechanical compositions found in Neoclassicism, where angular axises are formed by a painting's contents and imposed by the rational will of the painter. Attribution In June 2008 the Museo del Prado issued a press release in which Manuela Mena, Chief Curator of 18th-Century Painting and Goya, stated that the painting was "with almost complete certainty" the work of the painter Asensio Juliá who was a friend and collaborator of Goya. The analysis undertaken in January 2009 concluded that the painting was the work of one of Goya's disciples without being able to state for certain that this person was Juliá. The Goya expert Nigel Glendinning rejects the idea that the picture was painted by Asensio Juliá, stating that the arguments supporting Mena's views are "totally subjective" and that the brush strokes that Mena claims are the signature "A. J." are actually the first digits of the inventory number 176 that is visible in old photographs of the painting. It is also possible to see other numbers in these old photographs such as the number 18 that is alluded to in the sentence "A giant with the number eighteen" used in a description of the painting A Giant which was the name used for the painting in the inventory of Goya's works carried out in 1812 after the death of the painters wife Josefa Bayeu. In 2012 Jesusa Vega published an article entitled "The Colossus is by Francisco de Goya" in which she shows how the strokes of various figure eights drawn by Goya correspond to those visible on The Colossus. Vega rejects the basic premise that initially threw doubt on Goya's authorship of the