text: During Ziegler's party, Bill is summoned to the bathroom to deal with an apparent overdose, as he climbs the spiral staircase he passes Giulio Bergonzoli's sculpture Gli amori degli angeli (The Loves of Angels) which is at the foot of the staircase. This sculpture is said to be inspired by a poem titled The Loves of The Angels by 19th-century poet Thomas Moore, the poem itself describes the story of three angels who fall in love with mortal women and share the password to heaven with them resulting in their banishment. At the time of the poem's release, it was received with controversy due to the open eroticism throughout. During the same party sequence, Bill is talking with the two models as they walk past a small reproduction of Gian Lorenzo Bernini's sculpture Apollo and Daphne sitting on a table.
  When Bill enters a cafe towards the end of the film, two Pre-Raphaelite paintings can be seen hanging on parallel walls, Ophelia by John William Waterhouse and Astarte Syriaca by Dante Gabriel Rossetti. Waterhouse's Ophelia depicts the character by the same name in Shakespeare's tragedy Hamlet moments before her death. Astarte Syriaca depicts Astarte, the ancient Syrian goddess of love, as well as two symmetrical angels holding torches directly behind her. Both paintings mirror events within the film and, as Robert Wilkes writes, reflect its "mood of sensuality, ritualism, and exoticism". In the same cafe scene, a crystoleum print of Maude Goodman's Hush! (or, A Moment of Idleness) is seen behind Bill as he sits down with a newspaper, in the proceeding shot the print is replaced with what Wilkes describes as a "more chaotic, nightmarish image" as Bill reads about the ex-beauty queen's apparent overdose.
  When Bill is walking through a hospital hallway towards the end of the film, he walks past Jann Haworth's painting Aunt Gurdi Burning (1995). The painting is oil on canvas and mounted on a screen, it is in the permanent collection of the Chelsea and Westminster Hospital where the scenes were filmed.
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