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(68) Diagram E

Adding a diagonal line from the upper left corner to the base of the second segment of Diagram D plujs a second diagonal from the lower left to the upper right of the second segment places the enter point of those diagonals on the waist of the second figure. Lines connect the right shoulder of the first figure with the left knee of the second figure. The left elbow of the second figure is lined up with the hair, left eye, nose, right breast of the center figure. It continues down to the lower left through the right knee / bow of the first figure. he still life table parallels this line and the first diagonal contains the other side of the tilted table. Another diagonal drawn from the top right corner touches the elbow of the standing figure on the right, crosses the middle of the curve in the back of this figure and hits the mask of the seated figure moving through a point where the waist and the thigh of the seated figure meet. Its companion diagonal in this segment lines the raised arm of the standing figure. As it continues down, it goes between the eyes of the seated figure as this line completes its journey down to the lower right corner. The white in this area parallels the diagonal lines in this segment.

(69) Diagram F

These parallelograms and diagonals demonstrate the complex geometrical relationships in "Les Demoiselles d'Avignon." See the repeating angles which align with the shapes of the figures.

(70) Diagram G

This division into four equal vertical panels places the figure on the left inside what appears to be an interior space. The protruding foot is crossed at the heel and the thumb touches this line at the top. The remaining three panels seem to be outside. Note the containment of the second figure in the second panel, how the center figure is bisected by the center line and how the masks line up exactly on the edge of the fourth panel. The angular right pectoral of the top figure is associated beneath the left breast of the seated figure.

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