On the opposite wall, Picasso has painted La Paix. The set reads from right to left. The first scene features four figures engaged in peaceful activities in a garden of tender, restful colors. A woman, while reading, nurses her child, beneath an abundant trellis, a sun urchin with abundant, colorful rays and a tree with luminous fruit.
The rich, generous symbol of motherhood is joined by that of liberating culture, undermined, as we have seen, in the opposite panel. In a vast blue panel that occupies much of the wall, several scenes coexist, all imbued with exuberant joy. A white horse pulls a harrow held by a child working the azure-blue field. The little ploughman's gaze is directed towards the previous group and, as another image of fertility, is linked to it. The animal is winged, like those in Greek mythology. Much appreciated by Picasso, the figure of the Centaur appears regularly in paintings from this period. The diaule-playing faun we see in the work, at the far left of the panel, is also often summoned.
The two naked women in the center dance to his music. They are accompanied in their evolution by two other children whose agile, light-hearted play does not hide a certain mischievousness. The birds in the jar and the fish in the cage evoke a playful reversal of the elements which, in this enchanting Edenic setting, are in no way the bearers of curses. Even the owl - the usual figure of the deep, dark night - perched on the balancing child's head, doesn't play its usual evil role. It finds a kind of positive counterpart in the shapes of the bunch of grapes that the other child holds in his left hand.
Finally, in other interesting clues, the little hourglass at the end of the white stand, balanced on the woman's finger, relays the image of time visible in the spiral of the shell on which the musician sits. Linear, precarious and limited, human time thus seems, in this communicative joie de vivre, to be inscribed in eternity.
