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A later study in 1906, (36) was based on (35A) and also on Poussin's "Inspiration of Anacreon" (42B). This work contributed the second figure from the left with her twisted torso and her head framed by a tree limb. Another tree line continues next to the two figures suggested by putti in Paul Veronese's "The Finding of Moses" (36A). The upraised arms and the body of the central figure near the top of the study came from the putto in the middle of (36A) and the segments of sky seen between the trees and the side of a cliff place the third vertical line in Picasso's study. The putto on the right floats in front of the trees which defined the last vertical division for Picasso. Anacreon's pose was transferred directly to the central figure of (36). The wreath on his head was translated into fruit by Picasso. Additional studies for (40) are (37) and (38). A survey of these works will show that Picasso was combining the earlier sources of Zurbaran's "Funeral of St. Bonaventure" (1A) and Ingres' "Turkish Bath" (17A). Both paintings are compositions of horizontally placed figures interacting with overlapping larger figures in the foreground. The large squatting nude in the right corner compares to the nude with arms raised over her head like the figures in (17A). The objects in the foreground of (17A) are repeated by Picasso as pitchers and bowls of fruit. In (38) Picasso relied on Zurbaran for several figures. Beginning on the left, the person with heavy dark robes came from “Burial of St. Bonaventure” (1A) as did the bald head in the center. St. Bonaventure's mask-like face suggested the mask of the squatting figure. The light miter in the upper left of (1A) reappears as folds in the drapery of (38).

For his study (39), Picasso may have used Rembrandt's Acteon from "Diana and Acteon" (39B). Witness his figure entering from the upper right. Lines on what appears to be trees in the Rembrandt coincide with the two central figures with raised arms in Picasso's study. Several other lines have parallels in the two works. The figure on the left and the seated figure in Picasso's study could have been reinforced by the memory of Titian's "Diana and her Nymphs Surprised by Actaeon" (40A).

Picasso tried to integrate all these various influences. Some feel that he never really resolved the work leaving the many different directions for us to witness in its unresolved state.

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