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drew the upper right panel from (111A). The horse is reversed because the printing process for for etching reverses the image in printing if this is not taken into account in the creation of the plate. Other reversals indicate that for some of these panels Picasso was working directly on the plate from the other artists' work. Look at the upper central panel of (111A) and also (111B). A study of (111A) suggests that the spilling intestines in (111) were patterned after the clouds in front of the chariot wheels.

The upper left panel of (112) contains a reversal of the forms in (111A) in order to shape the horse. The horizontal clouds over the fallen man's head became the horse's head. The curved clothing in the right of (111A), when reversed, form the hind end of the horse in (112). The center panel of (112) uses (111B) in its proper orientation to design the bull and the horse.

“Guernica” composition study May 9, 1937 (113)

This study (113) was created from the left arm of the father in Rembrandt's "The Return of the Prodigal Son" (103B). This source also explains some of the twisted anatomy at the base of (113). Vertical architectural shapes were reconstructed from the background of the Rembrandt. However, the primary source for (113) remains Ingres's "Venus Wounded by Diomedes" (111A).

The light which Picasso placed top center may have first illuminated Bassano's "Samson Slaying the Philistines" (113D).

The woman in Rembrandt's “Blinding of Samson” (113B) with her arm extended is another example of a figure in the same gesture as Picasso's woman with the lamp.

A central figure in dark clothing from Rembrandt's "Judas Repentant" (113C) provided Picasso with a model for the pose and the expression of the bull in this study.

"Leg and Head of a Horse" May 10, 1937 (114)

Two horses' heads from Rubens' "Quos Ego Modello" (114A) were

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