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29. El Greco's clouds and rocks in this segment crested the cubed shape of the breasts in Picasso's work preparing the way for Cubism.

30. El Greco's torn clouds and moon are in the upper right of (40F) and are also implied by segment #34. The scene may have changed to an out of doors landscape at this point contrary to the usual interpretation of this being an interior scene.

31. The rock in the El Greco is replaced by angular patterns in Picasso's painting.

32. The rough form of a tree painted by El Greco and its surrounding area correspond to the head by Picasso.

33. El Greco's triangular shape was adapted by Picasso as an open space between the arm and side of the figure.

34. The tree limb in (40G) may have contributed to the angular patterns in (40F).

35. Shading on the rock in (40G) coincides with the left breast of Picasso's central figure.

36. The forked shadow on the robe of Christ was repeated by Picasso as an abstract shape.

37. This area in the Picasso can be found in the El Greco in relation to the objects surrounding it. It is more of an abstraction than some of the other comparisons.

38. Christ's knee functions as a leg in the Picasso version.

39. Drapery folds of (40G) can be found in a simplified form in (40F).40. A fold in Christ's robe at the left elbow is used as a curved line on the left shoulder of the seated figure in (40F).

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