poem by Cristóbal de Beña the shadow of James I of Aragon (Jaime I el Conquistador) is invoked for similar purposes. In the poem Zaragoza by Francisco Martínez de la Rosa, General Palafox commander of the Siege of Zaragoza (1808) is encouraged by his predecessor Rodrigo de Rebolledo. Finally, the victor in the Battle of Las Navas de Tolosa, the king Alfonso VIII of Castile is mentioned in the hymn celebrating the Battle of Bailén written by Juan Bautista Arriaza. Despite all the aforementioned, there are still unknown elements in the painting. There is no convincing argument regarding the direction that the giant is moving in (if it is moving at all), and it is impossible to see the enemy that it is opposing. However, on the latter point some authors consider it highly likely that the mountainous terrain hides the enemy army on the other side of the valley that the civilians are fleeing along. It has therefore been proposed that the painting most probably shows a confrontation between an invading French army and the giant, representing the defending Spanish forces, as described in Ariaza's poem. The giant's willingness to fight with his bare hands and without weapons is also described by Arriaza in his poem Memories of the Second of May, which stresses the heroic nature of the Spanish nation. The giant's heroism contrasts with the fear of the rest of the population, who are fleeing and dispersing in many different directions, only pausing occasionally to help someone who has collapsed or due to the legendary stubbornness of a mule. In terms of the axis of the composition, there are a number of signals that dynamically represent the directions in which the multitude is fleeing, which is mainly towards and beyond the painting's lower left hand corner. There is another opposing axis shown by the stampede of the bulls to the right. Amongst all this movement there are some figures that are attending to a fallen person or someone in difficulty, which provides a counterpoint to the movement and emphasizes the impression of chaos. The giant is separated from the foreground by the mountains, thereby providing a feeling of depth. It is turned away and facing to the left creating a perspective further removed from the viewer and forming a diagonal opposition to the direction of the fleeing crowd. The effect of the light, which possibly indicates sunset,