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41. The hand of Christ becomes the left elbow in (40F).

42. Compare the curved lines in both paintings. See the line diagrams (40H) and (40I).

43. A suggestion of Picasso's figure in this area is again developed from El Greco. Note the contour down the neck and left arm of the Christ and how this forms the right breast and torso in Picasso's work.

44. The head of this figure is created from shapes around the head of Christ.

45. This item is not represented by a number on the diagrams. It is the duplication of the color hues.

This comparison demonstrates that the "Agony in the Garden"

determined, to a great extent, the final composition and suggested some of the more radical innovations of form employed by Picasso in his "Les Demoiselles d'Avignon."

The square format of (40) was determined by Zurbaran's "Burial of St. Bonaventure" (1A). A line moving from the lower left to the mask of the seated figure in (40) was taken from the slope of St. Bonaventure in (1A). The miters and crown on the left of (1A) relate to the raised arms of Picasso's central figures. The direct eye contact with the viewer (almost an hypnotic stare) that Picasso's figures display may have an origin in the background figures in (1A). This device continues in several Picasso works after this painting.

SETTING THE STAGE

The figures in Poussin's "Parnassus," 1630s, (35A) at the Prado Museum and the various poses of clothed and nude figures with some of the persons holding books and a skull-like mask should not be overlooked as possible catalysts for the initial theme which involved a medical student holding a book and sometimes carrying a skull. One figure prominently displays a mask. The

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