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have been stand-ins for Picasso and Max Jacob. Picasso said they were a medical student and a sailor. (Picasso qtd. in Kahnweiler 24). The two men were characterized by Leo Steinberg as symbols of detachment versus engagement, intellectuality versus sensuality. For William Rubin, the medical student symbolized the artist's mind and intelligence while the sailor in the midst of food, drink, and prostitution denoted Picasso's instinctive sensuous side. The number of women coincided with the number of women in Picasso's home during his youth: mother, grandmother, two aunts and a maid. (Gedo 78).

For several of the versions of Picasso's "Study of Seven Persons, Five Females, A Medical Student and a Sailor" as shown in (44), he found the left hand holding back the drapery and the hint of the arm holding the books for his medical student as well a the high cuff on the left leg which looks Actaeon's boot. Picasso saw the next nude in the white clouds in the sky near to the left hand of Actaeon. The seated figure with leg bent is next in the line as the bottom of the red drapery formed the back of her chair. The shy pose of the fourth figure from the left in "Diana and Actaeon" suggested the bashful sailor in Picasso's study. She also gave lines to the top of the table. The forced perspective of the table was completed by the right foot and leg of Diana and the right side of the table was imagined in the back of the woman drying her foot. This tilted table top was a predictor of the multiple perspective views which will play a major part in Cubism. Above her back is the is the stone pier or support which must have intrigued Picasso, for many of his studies of this blocked form demonstrate how Picasso changed it into a nude with raised arms. Numerous studies in Picasso's "Sketchbook # 42 of 1907 show how he explored the building blocks and how they could be applied to the figure. This shows Picasso relating these forms to Cubist theory. A patch of blue sky parting the dark areas of "Diana and Actaeon" does the same in the sketch in the area showing the opening of the drape. Between the trees in the background on the right of "Diana and Actaeon" Picasso saw a head where they meet, and this imaginary observation placed the entering figure on the right. Diana's seated pose was merged with that of her maidservant. The curved lines for her left buttock were found in the negative space above the dog, and the right buttock follows the curves in the striated lines of the red and white dress. Notice also the few lines Picasso used to draw the neck of Diana as it meets the head of the maidservant. This line was turned into the pony tail in the study. A curved line represents the

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