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combined by Picasso in his "Leg and Head of a Horse" (114). The work by Rubens explains the multiple viewpoints of Picasso's heads. Considering his past interest in presenting objects from different viewpoints in one form, Picasso certainly must have seem the possibility of combining these horses into one image.

“Guernica” study May 10, 1937 (115)

The relationship between Picasso's heads of the bull as in his May 10th study (115) and Rembrandt's (113C) exists in particular in the unusual irises overlapping the eyelids; the trim beard on the large jaw and the massive neck twisted as the head looks to the left. Curves in the hat could have suggested the horns to Picasso's imaginative mind.

"Head of a Woman" May 13, 1937 (116)

"Head of a Woman" (116) was a further distortion of (110B).

"Mother with Dead Child" May 13, 1937, (117)

"Mother with Dead Child" (117) has the feeling and movement of the mother and child of Rubens' "The Horrors of War" (117B) but this work is specifically a worked- over "Medea" by Delacroix (117A). In her headpiece Picasso saw the nose, nostrils and small eye of his figure. Medea's ear was transformed into a large eye. The head of Picasso's figure is turned radically in opposition to her movement as is Medea's. Openings in the cave created the jagged triangles on the left; other triangles were suggested by various areas in the Delacroix.The allusion to Medea's killing her own children suggesting to Picasso a relationship to the bombing of Guernica should not be overlooked.

Raphael's "Galetea" (117C) supplied Picasso with numerous opposing triangular shapes and patterns. Note the large dark triangle in both (117C) and (117). The head of the mother was fabricated from parts of the female being held by the male. Her right arm equals the mother's nose. The beard of the male is the dark space of the mother's mouth. The torso of the woman shaped the

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