A fat and jolly horned devil in the confessional box, with a confessor of the fair sex kneeling at one side, while at the extreme right two small acolytes point out to each other a suspicious looking tail that protrudes from beneath her skirts, thus stamping her as Satan's own.
A belfry window with a swinging bell, and bestriding the bell a skeleton tightly clutching the upper part of it—ringing the ánimas perhaps.
Gustavo himself seated smoking, leaning back in his chair, and in the smoke that rises a series of women, some with wings.
A nun in horror at discovering, as she turns down the covers of her bed, a merry devil.
A woman's coffin uncovered by the sexton, while a lover standing by exclaims, "¡¡Cáscaras!! ¡cómo ha cambiado!"
A scene at the Teatro Real with Señor Espin y Guillén in a small group behind the scenes, and a prima donna singing. Actors standing apart in the wings.
A visit to the cemetery. A skeleton thrusting out his head from his burial niche, and a young man presenting his card. "DIFUNTO: No recibo. VISITANTE: Pues hai (sic) queda la targeta (sic)."
A fine sketch of "Eleonora," a stately form in rich fifteenth-century garb.
A number of sketches of women, knights, monks, devils, soldiers, skeletons, etc.
Second Album: Les morts pow rire, Bizarreries dédiées à Mademoiselle Julie, par G. A. Becker (sic).