Eureka! After twenty-three years of trying and failing to convince art scholars and art critics of hidden images in Picasso’s Guernica, I have stumbled onto what I consider proof of the hidden swan Cygnus (my pages 9, 10, 40), proof of the disguised wings of Pegasus (my pages 1, 2) , proof of hidden Hitler (my pages 22, 23, 24, 52), proof of Hitler as Cyclops (my page 89) and proof of hidden Goering (my pages 22, 23, 24). Importantly, these hidden images are all at center in Guernica.

Please look at Michelangelo’s sketch The Fall of Phaeton. He did several sketches of Phaeton falling and at least two copies of the varying sketches are on the internet. The sketch to which I refer is the sketch where the “river god” is reclining in the left foreground. This Michelangelo sketch may also be seen on page 196 and explained on page 197 of The Essential Michelangelo, by Kirsten Bradbury, published 2000. I first became aware of this sketch on December 20, 2003. I was startled! My jaw dropped and then came a quiet sense of knowing! Here was a Michelangelo sketch standing in direct support of the Guernica hidden images I had discovered nearly twenty-three years ago, that is, in 1981..

To remove any lingering doubt, let us match things in Guernica against things in Michelangelo’s sketch:

The large oval light with filament in Guernica comes from Zeus in the sketch. Scholars have suggested that Guernica’s large oval light is God’s eye in one role, for example, William Darr, “Images of Eros and Thanatos in Picasso’s Guernica”, Art Journal XXV/4. Summer 1966, p. 343: “The blazing sun is on one level God Almighty…”. Also see my pages 5, and 11, where I equated the large oval light with “Ra”, and with “God”. This comparison of Guernica with Michelangelo’s sketch strongly suggests, if not proves, that the large oval light of Guernica is the sketch’s Zeus metamorphosed.

The agonizing bird between the heads of the horse and bull in Guernica originates from the bird that Zeus is astride in the sketch.

The horse in Guernica is Pegasus with two disguised, but not hidden, wings (my pages 1, 2). The sketch has four flying horses with no wings. The four do fly as they pull the sun across the sky each day. Picasso equipped his Guernica horse with disguised wings. The wings are really not that hard to read. They are different and both are synthetic cubist adaptations. They are different because they serve a number of other roles in the mural besides serving as Pegasus’s wings. Several scholars mention that Pegasus appears in preliminary drawings but no scholar has stated that winged Pegasus appears in the final mural.

The spear in the horse in Guernica comes from the thunderbolt that Zeus wields in the sketch.

The speared Hitler-Goering hidden caricature (my pages 22, 23, 24) at center in Guernica comes from the sketch’s falling Phaeton. Hitler and Goering share the same spear-shaft nose. The spear-shaft in Guernica evokes the long wooden liar’s nose of Pinocchio (my pages 32, 33). Both Hitler’s Germany and Goering denied their airplanes had bombed Guernica.

The hidden wheel of Ixion (my page 51) is intuited at center of Guernica. Ixion’s wheel in Guernica is inferred from the wheeled cart at the center of the sketch. Picasso shows a wheeled cart in a Guernica preliminary drawing. Thus, Guernica’s Hitler-Goering caricature eternally spins on Ixion’s wheel in Tartarus, the Greek mythological underworld or Hell. They spin eternally as punishment for murder.

The three women with upturned faces in Guernica come from the three sisters of Phaeton in the sketch. One of the three Guernica women with upturned faces, the one on the right, is burning. Her torso and legs seem to have changed into a burning log with protruding toes (my page 7). In Michelangelo’s sketch all three women are Phaeton’s sisters and Zeus is changing them into trees.

The hidden swan Cygnus (my pages 3, 9, 10, 40) appears in the large white central space in Guernica. The swan Cygnus appears just behind the three women in the sketch.

The head and two arms at the bottom of Guernica come primarily from the man reclining at the bottom-left in the sketch. I identified this severed Guernica head with severed arms in one role as Aquarius, a water carrier with a spilled cup (my pages 40, 41). In the sketch the reclining man is identified as “the river god Eridamius” and his vase is on its side spilling water.

One must remember that all the figures in Guernica have multiple roles stemming from various sources. But much at center in Guernica is primarily metamorphosed from Michelangelo’s sketch The Fall of Phaeton.

In summary, all of Michelangelo’s sketch found its way into Guernica metamorphosed by Picasso.

Einstein built mental speed-of-light models to understand relativity, Watson and Crick built DNA models to solve cell replication, and Picasso’s Guernica results from similar model building. Picasso’s model building began with the scaffolds of cubism and ended with his creation of Guernica. In Guernica Picasso metamorphosed and intertwined many masterworks with stories from religion, mythology and puppet theater. The inextricable screaming glue which holds this almost unbelievably complex masterpiece together is the April 1937 horror experienced by those at Guernica

Melvin E. Becraft, author, date and © March 9, 2004

e-mail: mbecraft34@aol.com or mbecraft24@yahoo.com

Picasso’s Guernica – Images within Images, 1983, 1986 is the lone book taking into account hidden imagery in Guernica.

Additional details about the disguised wings of Pegasus: one disguised wing is over his back nearly touching his tail, the other disguised wing is dead center in the painting at the base of the horse’s neck. This wing is of slightly different shape but its curvature is a mirror image of the curvature of the wing that nearly touches the horse’s tail. In a sense, the wings perform parenthetically bracketing the horse’s neck and head which extend upward from the wings.

Another aspect of the Pegasus myth in Guernica: The Spring of the Muses (my pages 1, 2, 3, 20) extends from the bent horseshoe at bottom to Pegasus’s belly and ends just under the big gash in Pegasus. Thus the Guernica women are the Muses (my page 20), the goddesses of the arts, who inspire painters, poets, writers, singers etc. Picasso was both painter and poet. Picasso shows that due to the horror at Guernica the goddesses of the arts are in disarray, are screaming and lamenting.

Please refer to my book for more Guernica details regarding other parts of the Pegasus myth such as Perseus (my page 1), his shield (my page 2), and the head of Medusa (my page 3). Simply search for my name and two or three clicks later my book will be downloaded for reading or printing. There is no cost.

The Fall of Phaeton myth is covered in my remarks dated March 9, 2004. I explained that the Hitler-Goering caricature at center in Guernica is metamorphosed from falling Phaeton in the Michelangelo sketch. The Sword of Damocles myth is also involved (my pages 2, 3, 43, 50, 51). In Guernica The Damoclean sword hangs above the Hitler-Goering caricature, a caricature of tyrants. In the Damoclean myth a huge sword hangs over the heads of tyrants.

My remarks of March 9, 2004 refer to Hitler and Goering in Guernica. You may also refer to my book for the hidden image of Mussolini (my pages 22 and 24), and for
the hidden images of Franco (my pages 25, 32, 35 and 48).

Melvin E. Becraft, author, date and © March 15, 2004

e-mail: mbecraft34@aol.com or mbecraft24@yahoo.com

Telesphoros: according to Carl Jung Telesphoros is an “archetypal child god” who appears in a monk-like hooded robe. Telesphoros has a scroll and often wears a tablet or box from his neck. He appears from man’s unconscious in “dreams, visions and … in mythology”. From his past appearances sculptures have been created, illustrated and essays written. Telesphoros is thought by Kerenyi to be a “funerary” god connected to the idea of “immortality”. When Telesphoros wears a veil, it symbolizes a cult of the underworld where rites to chthonic gods and initiations are performed. See my Epilogues XVI, and XVII for notes and sources regarding Telesphoros.

Telesphoros in Picasso’s Work:

1921 Three Musicians:

Telesphoros first appeared in Picasso’s work in his two 1921 Three Musicians. In both paintings Telesphoros is on the right in his monk’s robe with a hood. In one painting he wears a veil and a mask. In the other painting he wears a mask. Masked Pierrot evokes a ghostly figure in an underworld setting, The monk-like Telesphoros evokes the underworld, and masked Harlequin evokes Hermes Trismegistus and the underworld.. These 1921 Three Musicians paintings portray an occult initiation ceremony marking the symbolic death of Picasso. In the 1921 Three Musicians paintings Telesphoros appears in the open, however, in 1925 and 1937 Telesphoros is hidden..

1925 Studio with Plaster Head:

Telesphoros next appears in the 1925 Studio with Plaster Head. In this work Picasso-Telesphoros holds his graduating diploma or “scroll” while his occult “tablet” hangs from his neck. This second initiation ceremony marks Picasso’s symbolic resurrection and attainment of gnosis and oneness with God. To see hidden Telesphoros please turn your copy 90 degrees counter-clockwise. Now the hand-clasped “scroll” is at the bottom. Immediately above the book or “tablet” is the circled eye of Picasso-Telesphoros. He is hooded like a priest or monk. He has a prominent rounded nose turned under near the uppermost corner of the book. The line of the profile nose continues downward to describe a shoulder and arm with hand on the “scroll”. The second eye is the dark triangle in the blue shape tangent to the nose. Two profiles are meshed, one is female, one is male. Telesphoros is looking at the central orange ball. The ball calls to mind the sun as well as an inferno. Also, it may be God’s light as well as the philosophers' stone of alchemy.

"Telesphoros in Greek mythology was a child god associated with Asklepios". Asklepios was a god of healing reputed by some to have brought the dead back to life. It follows that Picasso's two initiation ceremonies of 1921 and 1925 involved Picasso’s symbolic death first and resurrection second. The plaster head on the pedestal meshes a blue beardless female profile with a bearded male profile. The head is androgynous. The lips, beard markings, and most of the hair markings are leech-shaped. The plaster head is Asklepios, a doctor, the god of healing. Picasso also plays the part of Asklepios in this work. See my Epilogues XVI and XVII for notes and references regarding Asklepios.

1937 Guernica:

In Guernica Picasso identifies with Telesphoros whose capuchin or monk’s hood is the horse’s neck. The spear shaft is Telesphoros’s “scroll”. Telesphoros’s face is hidden in the small triangular black featureless space between the spear shaft and the horse’s neck. Telesphoros’s box or “tablet” is the black form at the very center of Guernica.

Thus, Picasso is hidden at the very center of Guernica behind the Hitler, Goering and Telesphoros masks From this central position in the painting Picasso avenges in the roles of Perseus and Odysseus. His avenging weapons include the spear, the Damoclean Sword and the white knife-like shape of the bird located between the heads of the winged horse and the bull. The spear dispatches Hitler and Goering. The knife-like shape holds the bull at bay, the Damoclean Sword has beheaded Medusa at lower-left and now threatens the woman in the window (Nietzsche is one of that woman’s roles).

Picasso’s last role in Guernica is playing Telesphoros. According to Jung, Telesphoros symbolizes healing and merging of opposites. Thus, healing and merging of opposites was Picasso’s final aim in creating Guernica.

Melvin E. Becraft, author, date and © April 3, 2004
e-mail: mbecraft34@aol.com or mbecraft24@yahoo.com

The final two of my previous notes have pointed out the importance of Telesphoros in Picasso’s work of 1921, 1925, 1934, and 1937.

Telesphoros is most likely in the 1925 Three Dancers and in the 1930 Crucifixion Painting.

A great source for a better understanding of Telesphoros is De Télesphore au «moine bourru» Dieux, génies et démons encapuchonnés. W Deonna, 1955. From that book I determined from my imperfect translating and understanding that:

p. 25: Telesphoros is connected to the underworld, often wears a veil, wears a capuchin-like hooded monk-like coat known as a "coat of segregation". Normally his hood is pointed. He is hooded and veiled for certain ceremonies dealing with underworld gods. These ceremonies include initiation or “rites of passage”, funerals, death and grief.

p. 29: The veil and the hooded monk-like coat are emblems of the underworld.

p. 40 and 41: Telesphoros is illustrated on page 40. It is pointed out that his arms are normally hidden beneath his hooded coat. Also, he sometimes appears with bare feet protruding at the bottom of his monk-like hooded coat. Telesphoros is illustrated as a child god, as an assistant to Asklepios, Greek god of healing. However, Telesphoros may be venerated alone with or without the appearance of Asklepios. Telesphoros normally has a tablet or box hanging from his neck. He normally carries a scroll. Some believe that Telesphoros at times wears an amulet.

p. 43: Telesphoros corresponds to Egyptian Harpocrates (Horus), and Telesphoros is sometimes associated with other divinities such as Venus and Aphrodite. Telesphoros arrived late to the Hellenic Pantheon.

p. 57: Karl Kerenyi insists on the funerary character of Telesphoros, that he is a child god of the dead.

With this grounding let us look at two more of Picasso’s works, two additional paintings which I believe show that Telesphoros is very much present in them:

1925 Three Dancers: The silhouetted black profile at right has a pointed top. In one role, this pointed top is most likely the pointed hood of Telesphoros. This work has to do with death. I have shown that the central figure, in one role, is Egyptian Isis, goddess of the dead. See my addendum page 105. Scholars have pointed out that this work is associated with the death of Ramon Pichot, a good friend of Picasso’s. The ‘presence of Pichot’ is allegedly in the silhouetted black profile. See Picasso, Timothy Hilton, pp. 47 and 150. Since Picasso entered Telesphoros in the 1921 Three Musician paintings and again in the 1925 Studio with Plaster Head painting, it follows that Telesphoros would make an appearance in this 1925 Three Dancers death painting.

1930 The Crucifixion: The upper right quadrant shows a small barefoot figure hooded and robed with no arms visible. An amulet-like chain seems to hang from his neck. He is masked. We can not be sure that his hood is pointed as the back of his hood is not shown. Yet the bare feet, hidden arms, and monk-like seamless robe point to Telesphoros for one role. The subject is death.

My study of Guernica began in the spring of 1981. After years and years of study Telesphoros was found to be at the very center of Guernica. Since Telesphoros appears at underworld initiations, it follows that Picasso was an initiate into gnosis of the divine. In my opinion, Picasso was a Christian gnostic, but also a pagan gnostic. Most likely, he was initiated into an ongoing magical secret society consisting of carefully selected gifted people in art, especially in poetry and painting. The origin of that ongoing secret society must stretch backward in time to the Renaissance* with its magical hermetic knowledge and rediscovered ‘gnosis’.

*To get a real ‘feel’ for the Renaissance, read books by Frances A. Yates.

Melvin E. Becraft, author, Picasso’s Guernica – Images within Images, 1983, 1987.
e-mail: mbecraft24@yahoo.com or mbecraft34@aol.com

Earlier I mentioned Telesphoros in the two 1921 Three Musicians, in the 1925 Studio with Plaster Head and the 1937 Guernica.

Telesphoros* is also in an unauthenticated Picasso work titled Picasso’s Unknown Masterpiece.

The title Picasso’s Unknown Masterpiece was assigned by the owner Mark Harris who discovered the work in 1991. Picasso’s Unknown Masterpiece is a 1934 ink drawing with gouache.

The Picasso Estate, despite Mark Harris’s requests, has not authenticated the work as by Picasso. Under French Law the Picasso Estate has sole authority to authenticate newly discovered previously unknown works thought to be by Picasso. Thus, for a newly discovered work the French Law acts as a brick wall which can be breached only by heirs to the Picasso estate.

Like Guernica the 1934 drawing has many hidden images.

Hidden at center is Telesphoros** in his monk-like robe with pointed Capuchin-like hood. Telesphoros’s black tablet, at center in Guernica, is also at center in the 1934 drawing. Telesphoros’s scroll is unfurled in front of him and seems to be held by the woman on the right who has been identified in one role as Isis***. This is Isis in her underworld role. As always in Picasso’s work when we find Telesphoros we find him in the underworld.

*See Illustration L1, page 122, Epilogue II, June 6, 1994, to Picasso’s Guernica – Images within Images, 1987. The illustration is titled “Mithras”, but it is also Telesphoros.
**See my page 157, Epilogue XVII, July 2, 1998, to Picasso’s Guernica – Images within Images, 1987.
***See pages 13 and 15, The Discovery of Picasso’s Unknown Masterpiece, A Preliminary Report, 1993, by Mark Harris. Harris identifies Isis with an overlapping Devil profile. This leaves no doubt that this 1934 drawing depicts an underworld scene.

Telesphoros and Asklepios sources:
De Telesphore au {{moine bourru}} Dieux, genies et demons encapuchonnes, W. Deona, 1955.
Asklepios, C. Kerenyi, 1959.
Mythology and Humanism – The Correspondence of Thomas Mann and Karl Kerenyi, translated by Alexander Gelley, 1975.
Memories, Dreams, Reflections, C. G. Jung, 1965
Essays on a Science of Mythology, C. G. Jung and C. Kerenyi, 1949, 1959, 1963.

Melvin E. Becraft, author, date and copyright April 18, 2004.
email: mbecraft34@aol.com or mbecraft24@yahoo.com

In the 1934 unauthenticated Picasso’s Unknown Masterpiece we see the unfurled scroll of Telesphoros.

In the 1937 Guernica we see the parallel lines across the horse. These lines represent writing on the unfurled scroll of Telesphoros. It was unfurled from the spear-scroll shaft.

Said another way: Telesphoros’s scroll in Guernica is represented by the spear-scroll shaft which unfurled reveals parallel lines of writing across most of the horse.

Please notice that the spear shaft (scroll shaft) is midway between the ‘wings’ of Pegasus. These ‘wings’ are also the extended cloak-hidden arms of cloaked Telesphoros holding before the world the parallel written lines of his scroll. And this Picasso-Telesphoros scroll is illustrated by hidden Hitler, Goering, Mussolini and Franco caricatures in the painting.

The above is added proof that the 1934 Picasso’s Unknown Masterpiece is a genuine Picasso work.

Melvin E. Becraft, author, Picasso’s Guernica – Images within Images
mbecraft24@yahoo.com or mbecraft34@aol.com

Not so clearly understandable: twenty-one years later, in 1958, Picasso painted a mural for the United Nations’ UNESCO building in Paris. Picasso never explained why but openly used The Fall of Icarus theme for his mural at UNESCO. Certainly the Phaeton and Icarus themes in mythology are similar: both end tragically with a fall. All those involved at UNESCO were understandably baffled and nonplussed by Picasso’s choice of Icarus for their mural. Conjecture: Picasso in the UNESCO mural used the Icarus theme to admonish the UNESCO officials that to be successful, to avoid failure such as the fall that befell Icarus, the UNESCO officials must set aside their biased national and intra-national agendas and treat all of suffering humanity fairly.

bunky24

The Red Carpet. 1924. has a black plaster cast with two faces.

Studio with Plaster Head, 1925, as stated in my Picasso’s Guernica - Images within Images, 1985. See my addendum page 138.

Still Life with an Antique Bust, 1925. Two faces.

The Dance, 1925 (left-most face has meshed horizontal and vertical faces).

The Dance, 1925 (central figure has two faces, one seen horizontally from the right, the other horizontally from the left).

Seated Woman, 1927, two profiles meshed.
Claude and Paloma, 20 January 1950. Right-most face has multiple faces.

The above examples are cited to support my finding that the Studio with Plaster Head, 1925, has meshed female and male profiles in the plaster head at center and thus evokes a hermaphroditic God as I stated. Moreover, the Plaster Head most likely evokes Picasso as a hermaphroditic God and thus evokes Picasso’s apotheosis. See my 1985 Picasso’s Guernica, Images within Images, addendum page 138.

One day some Art History Chair will understand my book as a serious study. It is easy to dismiss others’ ideas as subjective. Then one does not have to look at them critically.

Among many hidden images in Guernica I found a hidden bull’s head beneath the horse. See bottom of page 116 and illustration S of bull’s head on page 123.

Also, I found a hidden bottle in The Three Dancers. See addendum page 103.

Others have since made note of these hidden images based on my findings. My book with addenda should be taken seriously. After all, my book has been around close to 30 years waiting for an objective study. Time enough!
--
mel

Julian Jaynes, a Princeton professor, wrote a book titled "The Origin of Consciousness in the Breakdown of the Bicameral Mind" (1976). Speculating on the derivation of language
Proessor Janes theorized that human language developed over time by building a complex metaphorical vocabulary. As I understand professor Jaynes's book, complex language may be

thought of as a creation of a mountain built from metaphors where one metaphor leads to another and that new metaphor leads to yet another and so on.

Picasso's painting "Guernica" is such a metaphorical construction though pictorial not vocal. If studied in depth one Guernica image suggests other images, and those new images give

rise to more images and so on until Picasso completed his masterpiece. Thus in my book "Picasso's Guernia, Images within Images" Picasso's hidden images are complex, and point to

visual metaphors mimicing spoken language. I maintain that Picasso created an initial image and then intentionally used that image to suggest other images. My book "Picasso's

Guernica Images within Images" shows that the painting "Guernica" contains a plethora of intentionally hidden visual metaphors.

Hidden images of Hitler and Goering are without doubt in Guernica (my pages 23 and 24). An image of the painting "Guernica" hangs in the United Nations building, New York City.

Images of the painting should hang in all legislative capitols of the world because when properly understood "Guernica" is a painting spawned by the horrors of war yet secretly
calls for reconciliation of warring parties. See my above remarks on Telephoros who represents reconciliation and is played by Picasso hidden at the very center of the painting.

In the Damocles myth a sword hangs from a small thread over the head of a tyrant.

Directly below Guernica's hidden Sword of Damocles are two hidden tyrants (Hitler and Goering) merged/locked together sharing a spear-shaft Pinocchio nose. The black box at nearly dead center in the Guernica painting represents both Hitler's mustache and Goering's cockpit eyes. Hitler and Goering both denied that German planes had bombed the town of Guernica. How appropriate for Picasso to have them share a spear-shaft Pinocchio nose!

If you can see and understand that the large hidden Sword of Damocles is there in Guernica, then you should be able to find the hidden partial caricatures of Hitler and Goering sharing the long spear-shaft Pinocchio nose.

If so, then peruse this book for further revelations about Picasso's painting which is full of hidden images. Enjoy what took me somewhere between twelve to fourteen years seeking Guernica's meanings.

Melvin E. Becraft November 20, 2015

For Mark Harris' study of the ink drawing go to: Mark Harris, Picasso's Unknown Masterpiece.

Black forms for eyes are found near the center in both works: the 1934 ink drawing has the black eye of Odin plus a skull's black eye near the center both identified by Harris. The 1937 Guernica has two black eyes near the center: one is the gash in the horse which is Hitler's eye and Goering's mouth, one forms the cockpit eyes of Goering as well as the mustache of Hitler. See my Hitler and Goering illustrations on pages 23 and 24.

A cross is found in both works: the 1934 work has a Christ-like figure at top (a cross) cited by Harris. The 1937 Guernica has a Sword of Damocles (a cross). See my pages 2 and 3 for the illustration of Perseus's huge sword which also acts as the Sword of Damocles (my pages 50 and 51).

A bird's beak is found in both works: The 1934 ink drawing has a skull with a square black eye at center, then ascending from the central skull's eye we find an Odin head with one eye. Superimposed onto Odin's head we find one of Odin's birds with beak, then ascending from Odin we find the Christ-like figure with spread arms. An open bird's beak (illustrated at bottom of my page 24) is found in Guernica at bottom center next to the tiny flower. The Guernica severed bird's beak rests in its severed bird's claw. The 1934 ink drawing findings were made by Mark Harris.

Harris found that Frankenstein and Hitler amorphous partial-caricatures merge when the 1934 work is viewed upside-down; Hitler and Goering partial-caricatures merge in the 1937 work when the work is seen sideways. To see Hitler stand the 1937 work on end with the burning woman at bottom. To see Goering stand the work on end with the woman with baby at bottom. Hitler and Goering share the spear-shaft Pinocchio nose. See my pages 23 and 24 for the illustrations of Hitler and Goering.

A fish shape is in both works. Guernica has a small fish shape at the base of the horse's tail. Harris noted that the 1934 ink drawing has a large fish shape in the woman's torso on the right side of the drawing. The white fish shape forms the lower half of the woman, its tail at bottom, its pointed head ending just above the woman's wrist.

Both works have a bull and a horse or horse's-head shape. In Guernica the large bull and large horse are evident. In the 1934 work both shapes are amorphous, but can be discerned. In the 1934 work the amorphous woman on the left has her head hanging over the horns of the bull. She has two torsos, one grounded, another hanging from the bull's horns and superimposed over the dark bull's head. The bull stretches across the painting, amorphous yes, but there absolutely*. The amorphous front legs are in the black space below the amorphous bull's head while the bull's hind legs are evoked by the woman's legs seen on the far right of the work. A vertical horse's head identified by Mark Harris can be seen just is front of the woman on the right. The horse's eye is just in front of the woman's pointed nose. The woman appears to be feeding the horse.

* In the 1934 ink drawing Erica Harris discovered the large amorphous bull with a woman over its horns.

In Guernica a bird's severed head with open beak located by the small flower is used to evoke Franco. The small flower at bottom in Guernica would seem to represent a rebirth of representative government following a hoped-for defeat of Franco. Resting on a severed bird's claw Franco's severed bird's head is by the tiny flower. See my illustration at bottom of page 24 for Franco's severed head. Also the Guernica central black form below the lamp is in the shape of Franco’s banner seen in Picasso’s January 1937 The Dream and Lie of Franco. Thus the black form at center of Guernica comes directly from The Dream and Lie of Franco.* Also the large phallic symbols drawn on the planted leg of Guernica’s kneeling woman ( 4th paragraph my page 22 ) derive from the large phallus in The Dream and Lie of Franco. Further, the speared Guernica horse comes directly from the speared horse in The Dream and Lie of Franco.

* See my page 44, 2d edition. The flag shape in The Dream and Lie of Franco originally came from Goya's The Burial of the Sardine. Thus, Goya was very much in Picasso's mind as he painted Guernica.

Summary: At Guernica’s center it all comes together: In the body of the horse Hitler and Goering (my pages 23 and 24) are gored by a bull’s head found below the horse (my page 123) , Mussolini with a black point stuck in his head forms the derriere of the kneeling woman (my pages 22 and 24), and Franco is beheaded and his head is next to the flower by the horse’s downed knee. Franco’s banner from The Dream and Lie of Franco is in Guernica near dead center as Hitler’s black mustache and as Goering’s black cockpit eyes.

Mel Becraft
5 Feb 2016