The possibility of the drawing being a study for the Bath of Venus is unlikely as the style of the drawing places it much later within Burne-Jones's oeuvre. It is c. 1893. At this time Burne-Jones was working on illustrations for the Kelmscott Chaucer. In The Knyghtes Tale, Emelye prays to a statue of Diana, in a Temple, the Goddess then appears to her in the form of a huntress "With bowe in honde, right as an hunteresse,". The present figure is posed with her left hand at her shoulder and her right hand in front, as though holding a bow and reaching for an arrow held in the quiver on her back, an idea taken from Diana of Versailles (a Roman marble statue held in the Louvre). She stands before a stone wall. A rejected illustration of Emelye praying to Diana, shows the Goddess standing against the wall of the Temple holding a bow (The Pierpont Morgan Library no. 1975.50:2) If this assumption, indicated by the pose, is correct, then this nude is for Diana in The Knyghtes Tale. Burne-Jones radically re-thought the treatment of the subject and in order not to repeat the nude figure of Venus on the previous page, Diana finally appeared clothed and seated on stag in the published illustration. The second and later version of The Arming of Perseus was worked on in the 1890s, therefore it is completely acceptable that the artist would be making studies of birds' wings for this subject, whilst contemporaneously working on illustrations for the Chaucer project.