“To Caper Nimbly in a Lady's Chamber/ To the Lascivious Pleasing of a Lute” Dante Gabriel Rossetti 1 1850
<artist/> <location/> <bibl/> <note/> </citnpictorial> <citnmythic> <name/> <culture/> <bibl/> <note/> </citnmythic> <citnhistorical> <event/> <place/> <date/> <bibl/> <note/> </citnhistorical> <citnautobiographical> <name/> <place/> <date/> <bibl/> <note/> </citnautobiographical> <citnscenic> <place/> <date/> <bibl/> <note/> </citnscenic> </listcitn> </source> <commentaries> <head>Commentary</head> <section type="intro"> <head>Introduction</head> <p>“As originally conceived the <xref doc="a.s47.raw">pen and ink composition</xref> of 1850 . . . of a group of people in a woman's chamber . . . was to illustrate the lines from <xref doc="a." link="dead"> <title level="bk"> <hi rend="i">Richard III</hi> (I. 1. 12-13)” (Surtees I. 15). But in 1851 DGR made his <hi rend="i">Borgia</hi> watercolour from this drawing, and from that point he continued to think of and develop the work as a scene from his idea of the Borgia family rather than in relation to the Shakespeare text. According to George Boyce, who bought the watercolour in 1853 or 1854, DGR regarded the drawing as “one of the best drawings he ever did” (quoted in Surtees I. 15).

Textual History: Composition

Textual History: Revision

Production History

Reception

Iconographic

Pictorial

Historical

Literary

Translation

Autobiographical

Bibliographic

Bullen, <xref doc="a." workcode="3-1848" from="86" to="88"> <title level="bk"> <hi rend="i">The Pre-Raphaelite Body</hi> (1998), 86-88. Marillier, <hi rend="i">DGR: An Illustrated Memorial</hi> , 38. Surtees, <hi rend="i">A Catalogue Raisonné</hi> , vol. 1, 15.

Birmingham City Museum and Art Gallery drawing “To Caper Nimbly in a Lady's Chamber to the Lascivious Pleasing of a Lute” DGR 1850 1850 pen and ink 1