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boat is the boat. The profile of the little blond girl on the right of (98) can be seen in the area of the shoulder of the pirate on the right of (98A). The oar and this pirate's fingers form her nose and mouth. The light spot on the other pirate's left shoulder marks the position of her hands. The other girls may be found by moving leftward from her location.

"Minotaur and Nude - Encre de Chine" 1934 (99)

One example of Picasso using the work of Rubens is his adaptation of that artist's "Descent from the Cross" (101A). Picasso saw a bull's head in the billowing clothes of the figure on the top left and he saw the woman in his drawing "Minotaur and Nude" 1934, (99) in the twisted torso of Christ whose foot and left leg are in the position of her leg and foot. Her breasts are the head and shoulder of the bearded male in (101A). Her face may be found in the cloth around Christ's right foot. Another reference is the penetrating ground plane of of both pictures, from the front edge of the painting lading in a curved plane backward and up into the picture.

"Woman in Candlelight, Combat Between Bull and a Horse - Encre de Chine" 1934 (100)

Picasso recalled Delacroix's "Death of Sardanapalus" (92A) for the inspiration to create his "Encre de Chine" 1934 (100) This drawing again pits horse against bull.

In 1803, Ingres painted "Venus Wounded by Diomedes" (111A) using an engraving by Antonio Tempesta, the "Victory of Joshua" 1613, (108B) as his source. First, let us compare these two before relating them to Picasso's drawing. The "Victory of Joshua" will be listed in the column on the left and "Venus Wounded by Diomedes" will be assigned to the right column.

"Victory of Joshua" "Venus Wounded by Diomedes"

A lance carried by a plumed

soldier in the middle = the wand of the lady in the

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