40. Sidonia the Sorceress. A design to illustrate Meinhold's Romance, representing Sidonia, not in religious habit, with the demon-cat, Chim. William Morris's criticism that the face of Sidonia was not pretty enough, and another suggested improvement on the part of a friend of Aubrey Beardsley's, induced him to try to better the picture by altering the hair. The result was so far from satisfactory that it is almost certain that the drawing was destroyed by the artist. First half of 1892.
41. Le Débris d'un Poete. Pen-and-ink. First published in "Aubrey Beardsley," by Arthur Symons (Sign of the Unicorn, London, 1898). (Property of André Raffalovich, Esq.)
42. Incipit Vita Nova. Chinese, white, and Indian ink on brown paper. First published in "Second Book," again in "Later Work." (Property of Messrs Carfax & Co.) 1892.
43. Head of an Angel, in profile, to left, flaming heart held in left hand. Pencil, on a half-sheet of grey notepaper, signed with monogram A.V.B. 5-3/4 × 3-7/8 inches. First published in photogravure "Second Book," again in "Later Work"; also printed in 4-inch square form on card for private distribution, Christmas 1905. (Property of the artist's sister, Mrs George Bealby Wright [Miss Mabel Beardsley].) c. 1892.
44. Adoramus Te. Four angels in a circle (7 inches in diameter) playing musical instruments, pencil and coloured chalks. Signed A.V.B. monogram. Designed as a Christmas card for the late Rev. Alfred Gurney. First published in photogravure in "Second Book," again in "Later Work." (Property of Mrs George Bealby Wright.)
45. A Christmas Carol. Two angels, one of them playing a hand-organ, in a circle (7-3/4 inches diameter), pencil, and coloured chalks. Designed as a Christmas card for the late Rev. Alfred Gurney. First published in photogravure in "Second Book," again in "Later Work." Also in photogravure, 3 inches diameter, for private circulation. (Property of Mrs George Bealby Wright.) Christmas, 1892.
46. La Femme Incomprise. Pen-and-ink and wash. First published in the spring number of To-Day, 1895; again in the Idler magazine, March 1897.
47. Sandro Botticelli, three-quarter face to left, pencil, signed with monogram A.V.B.; 14 × 7-3/4 inches; a reconstruction of the Florentine painter's physiognomy from his extant works, to illustrate Aubrey Beardsley's theory that every artist tends to reproduce his own physical type. Presented by the artist to Aymer Vallance, Esq. First published in the Magazine of Art, May 1898; afterwards in "Early Work." c. 1892-3.
48. Raphael Sanzio. Full-length figure, three-quarter face to left, a decorative panel in pen-and-ink, 10-3/4 × 3-7/8 inches, exclusive of border lines. Unpublished. (Property of Messrs Obach & Co.)
49. Cephalus and Procris. Pen-and-ink.