From the same series of drawings as lot p. 27, q.v. On the recto the left-hand figure, seen from behind, is unnumbered; the next, '44', derives from a representation of the dead Christ: the third, '45', is a version of the figure of the Father from Michelangelo's creation of the Sun and the Moon in the Sistine Chapel, Rome, less close than that on the verso of lot p. 27; while that on the right, '46' is a mannerist development of Michelangelo's ignudi. On the verso the figure on the left, numbered '47', derives from Michelangelo's Matthan in one of the lunettes in the Sistine Chapel, here grouped with one of Fuseli's typical figures of old women; on the right, drawn with a greater emphasis on pen work, is a group of a figure in bed exclaiming in alarm at the conversation between two figures at the foot of the bed, a woman with hair much like that of the seated mother on the recto of lot p. 29, and a man derived from one of the figures painted by Michelangelo seated at the table behind the crucified Haman in a spandrel of the Sistine Chapel.

Professor Weinglass suggests that this group, apparently of figures in contemporary dress, could be related to Conrad Meyer's Nützlicher Zeitbetrachnung, published in Zurich 1675, which deals with the treatment of aged parents; Fuseli did three free copies from the illustrations to this book in the 1790s (S. 1181-2, 1786)