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the horizontal sweep of the arm as well as the arm of the cupid holding the mirror, the roundness of the figure and the rear view of the cupid. Clearly, Picasso was associating his current lady, Marie-Therese Walter with the goddess of love.

"Woman's Head" 1932 (94)

This was reinforced by Picasso's discovery of a detail in Francois Boucher's "Venus and Cupid" (94A) and (94B) and the detail (94C) suggesting Marie-Therese Walter's profile, an image Picasso translated into his bas-relief sculpture "Woman's Head" 1932, (94), (94P) and (94Q) and many other drawings, paintings and sculptures whose unusual proportions were seen in the detail of the Boucher.

EXAMPLES FROM 1934

"Cinesias et Myrrhine" 1934 (95)

For his "Cinesias et Myrrhine" 1934, (95) Picasso took liberties with a drawing by Thomas Rowlandson (95A). Note the repeat of the frame on the left. The head of Picasso's woman occurs as feathers in (95A). The breasts, left arm and torsos of both women posed for Picasso's two figures.

"Minotaure Avengle" 1934 (96)

The magic of Picasso's "Minotaure Avengle" 1934, (96) came from Delacroix's "Hercules and Alcestis" (96A). The Blind Minotaur was seen in the cave walls combined with the figure of Hercules. The young girl with a dove was discovered in the area of the left arm and the hair of the figure of Alcestis in (96A). The dove can be found near Alcestis's right hand. The light area on the right of (96A) was transformed into the boat and sailors by Picasso.

In kind, Delacroix had adopted Rubens' "Adoration of the Magi" (96B) for his "Hercules and Alcestis" (96A). These influences were combined by Picasso with another work by Delacroix, the "Abduction of Arab Women by African Pirates" (98A). Picasso saw the upturned head of the Minotaur in the dark

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