The remaining handful of minor novels before 1910 are of the sort which invariably appear upon a theme already proved profitable. _Urningsliebe_, by “O. Liebetreu”[14] is a masochistic tale of a girl who gives herself, her strength, and her money to a succession of five or six loves, and ends in prison serving a three year sentence for an offense committed by the last of them, in order to save her friend’s good name. Erich Mühsam’s _Psychologie der Erbtante_[15] is a half-satiric tragedy of a masculine woman of middle age, rather like Bonifas, who commits suicide because of a mysterious ‘unlucky love’ (supposedly heterosexual), in order to leave all her property to the girl with whom she had no luck. ‘Theodor’ (probably Anna) Rüling’s “Rätselhaft,”[16] one of three novelettes in her _Welcher unter Euch ohne Sünde ist_, also ends with a suicide. It is the story of a girl whose family has discovered her lesbian relations with a beloved friend and has separated the pair. _Dreiunddreissig Scheusale_,[17] published first in Leningrad (then, of course, St. Petersburg), was the work of a Russian actress, Annibal Sinowjewa. In it, a lesbian woman has lived for some time with a younger girl in a relation so perfect that she never doubts its permanence, and from sheer pride in her beloved’s beauty she encourages the girl to model for a life class of thirty-three men. The girl, as thoroughly schooled in erotic virtuosity as was the _Girl with the Golden Eyes_, becomes the common mistress of the artist group and never returns to her feminine lover. (This was not the sole, or even the first, Russian notice of feminine variance. Tolstoi had skirted it earlier in _Anna Karenina_ with the brief emotional flame lit in Kitty by Varenka, and Dostoievsky came a step closer in _A Friend of the Family_, with the mutual attraction between Nyelochka and her friend. Both of these incidents occurred in late adolescence.) During this same decade two major artists produced a series of works all of which are still freely available in German, and one, at least, in English. The symbolists in France did not touch upon female variance, unless one thinks of _Monsieur Vénus_, _Méphistophéla_, or _La Gynandre_ as distantly related to symbolism, but these two men included the theme in spreading canvases of definitely symbolic style.