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arts and crafts necessary for civilization. Born from the head of her father Zeus, Athena makes an important statement. The idea that she was born from a male underscores her relationship with men, both divine and human. In the human realm, Athena consistently becomes a protector of heroes, while in the divine she completely avoids sexual liaisons with gods. When represented by an owl, Athena is the owl since she was involved with shape shifting and would appear sometimes as an owl. How appropriate as a symbol for Gertrude Stein!

I believe that the "Eleventh Study for Six Persons: Five Females and the Sailor" May 1907, (55), and the "Twelfth Study of Six Persons, Four Women and a Medical Student and a Sailor May 1907, (56) were the final studies for "Les Demoiselles d' Avignon" as they most closely resemble the final arrangement of the figures and the space. In the twelfth study of six persons, Picasso has merged the sailor into the nude with raised arms.

There are hundreds of studies for the individuals who will appear in the final painting. Many of these resulted from the studies Picasso did from the works cited above. Rubens' nude on the left of his "The Judgment of Paris" 1635-38, pose for many of the nudes with raised arms. An example is the gouache (Z VI, 906) in the collection of Robert and Lisa Sainsbury at the University of East Anglia or Sketchbook #4, 4V. The classical "Hecules Resting" in the Louvre Museum posed for Picasso's androgynous versions of "Woman Standing" of 1907. See Sketchbook #3, 43R (Z XXVI 39), for an example. Also, the classic "Boy With Removing a Thorn from his Foot" was turned into a female with a leg resting on the knee in many of Picasso's studies. See for example, the pastel "Study for the Seated Woman in the Center in an Armchair, winter 1906-1907, (Z XXII, 473).

THE PAINTING -- "Les Demoiselles d'Avignon”

Having looked at some of the many studies that Picasso did to create the final painting, we can now look at how these evolved into the final version. This is a painting with an emphasis on form with little of the sentimental or humanistic concerns of Picasso's earlier work. Recall that during the winter of 1906, he had started planning a major work perhaps responding to the death of Cezanne in October 1906. Picasso intended for this painting to be an important

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