Spanish knight kills bull after losing his horse

See How the ancient Spaniards hunted bulls on horseback in the countryside

The print is part of the subgroup, composed of four prints, dedicated to the origin and chivalrous nature of bullfighting on horseback (nos. 9-11 and 13). It depicts in a somewhat burlesque manner a gentleman dressed inappropriately for bullfighting, according to the Count of La Viñaza, with a turban adorned with feathers, a short jacket with a sash, narrow trousers and an outlandish boot with large spurs, who has dismounted from his horse and with a somewhat forced pose thrusts his sword into the neck of the bull, which has bent its legs, instyle known as " pawning on foot".In the background, behind the bull, is the horse, badly wounded and unable to get up, which seems to be observing the scene. The background is neutral and without spatial references, worked only with aquatint, which creates an area of light that frames and highlights the figures.

Lafuente Ferrari omments on the print in relation to the preparatory drawing for the same, also entitled Spanish knight kills bull after losing his horse, in which the horse is dead and can barely be seen behind its rider. He also compares the figure of the knight with The Jester Don Juan of Austria, a portrait by Velázquez copied by Goya himself in a print.

Gassier compares the figure of the knight with another that appears throughout the series in different engravings and also in different drawings in various notebooks, such as This was a lame man who had a lordship (C.5) or Conqueror without witnesses (F.13), among others.

Martínez-Novillo relates it to the prints A Spanish Gentleman in the Square Breaking a Fistfight without the Help of the Pimps and A Gentleman in the Square Breaking a Fistfight with the Help of a Pimp ("Bullfighting A"), although in his opinion these represent scenes from the time of Goya and not "historical" ones, an aspect on which there is no agreement among specialists.