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chin of the mother. The mother's eye took form just over the woman's head. The mother's breasts are shaped like bomb shells released from the light area of Galetea's exposed hip. Curved contour lines refer to the linear divisions on the sea shell. This might well suggest a bomb shell.

"Head of Weeping Woman" May 24, 1937 (118)

"Head of Weeping Woman" (118) was inspired by Antonio Mantegna's "Lamentation of the Dead Christ" (118A).

"Head of Weeping Woman" May 24, 1937 (119)

"Head of Weeping Woman" (119) was discovered by Picasso in Rogier Van Der Weyden's "Descent from the Cross" (119A).

“Guernica” first state photographed May 11, 1937 (120)

In the first state of the "Guernica" mural photographed May 11, 1937, (120) Picasso had looked at the "Slaughter of the Innocents" by Rubens (120A) and found the woman with arms outstretched on the right and in the left foreground---the mother and child. The breasts on the woman by Rubens help to clarify the unusual shapes decorating Picasso's woman.

A very interesting transformation occurs in this state. Looking at Delacroix's sketches from Rubens' "Amazon Battle" (120B) one can, with some imagination, perceive the head of the bull in the bent leg of the falling horse. The shoulder of the horse and the right arm of the fallen warrior suggested the front legs of the bull and the bull's head. Continuing, the right leg of the warrior was turned into an arm thrusting vertically into space. Note the head of the warrior in (120B) and how its placement is positioned under the suggested head of a bull.

“Guernica” fifth state 1937 (121)

By the fifth state Picasso had moved the head of his fallen warrior over to coincide with the composition arranged by (120B). The horse changes its position and relates more to the horse on the right of (113A) and in (114A).

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