This paper consists of two parts. In the first part the specific place of the analysis of composition, among other methods of art history, is briefly discussed. In addition the rapid development of the theory of composition between the years of 1400 and 1550 is outlined, mainly focusing on the progressions made by Cennino Cennini, Leon Battista Alberti, Lionardo da Vinci, and, for example, Ludovico Dolce. In the second part the compositions of two paintings dated from two different periods – Raphael’s Fire in the Borgo and Picasso’s Guernica – are analysed, contrasted and compared. Concomitantly, an attempt will be made in order to demonstrate, what could be gained – according to the author’s opinion – by using the method of analysis of composition. Therefore, this analysis will be done carefully by paying attention to each single step. The aim of the analysis is firstly to clarify the compositions and secondly to identify the specific themes of the paintings. Surprisingly, despite the obvious discrepancies between the two paintings, there are several compositional similarities, which might hint at the possibility that Picasso had this specific work of Raphael before his eyes and even responded to it.