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(71) Diagram H

Two identical triangles composed of the same lines connect in an interesting manner in Diagram H.

(72) Diagram I

This diagram outlines two complimentary shapes which might be described as phallic or thumb-shaped. One points downward as the other copies its shape pointing upward. Thumbs down on the feminine figures in the center and thumbs up on the more masculine figures on the right. A reversing "S" curve flows between these two large shapes. Has Picasso cast his vote concerning his sexuality?

(73) Diagram J

Picasso connects the top of the painting with the bottom with this space defying chasm between the two pairs of figures. The three figures on the left appear flat like paper cutouts compared to the two overlapping figures on the right in which Picasso has provided more volume and value shifts.

Picasso, Salmon tells us, had "meditated on geometry" - which the Demoiselles's sketchbooks do but little to confirm." as cited by Rubin. However, these diagrams demonstrate that Picasso did consider geometry during the construction of his composition for all these associations could not be coincidental. (Salmon qtd. in Rubin 20).

(74) Diagram K

This diagram shows some of the compositional lines and spatial relationships between "Holy Trinity" by El Greco and Picasso's "Les Demoiselles d'Avignon."

Picasso continued working from El Greco after "Les Demoiselles d'Avignon" for although Picasso's "Three Women" 1908-1909 , displays a theme

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