Page:The New International Encyclopædia 1st ed. v. 16.djvu/794

* BAPE. 702 RAPHAEL SANTI. were not heard, at all events she should have, imuiediately after the ofl'ense, complained on tlie first oj^portunitj to her friends or relatives. It is not allowed to give in evidence the particulars of such complaint, but merely the fact that she made a complaint against some person. Unless this important particular be proved, her evidence is looked upon with great susjjicion, and may be discredited by the jury. One of the common de- fenses to a charge of rape is the luicliastity of the woman, the object being to render it unlikely that she did not consent, and hence it is in practice considered a proper question for the jjrisoner's counsel to put to her whether she had not had connection with the prisoner before or with other men ; but at the same time she is cautioned by the judge that she is not bound to answer such questions unless she likes. If, however, she de- nies the accusation, witnesses may be called to contradict her on that point. At common law, a boy under fourteen years of age was conclusively presumed incapable of the crime of rape. Bj' statute, in many of our States, this presumption may be rebutted by evidence. Consult: May, The Law of Crime's (Boston, 1893) ; Beale, Cases on Criminal Law (Cam- bridge, Mass., 1894) ; Clark and Lindsall, A Treatise on the Law of Crimes (St. Paul, 1900). KAPE. A division of the county of Sussex, England. See Shire. RAPE (from Lat. rapa, rapum, Gk. liiirvs, rhapjjs, pdtpvs, rhaphys, turnip). Brassicii caiii- pestris. A European and Asiatic herb of tlie natural order Cruciferip, resembling a turnip in general growth, but with a spindle-shaped root. It is widely grown in Europe for the oil ex- pressed from its seed ('coleseed') and for its foliage, which is an important stock food. In America the latter is its only use. The very leafy plant grows from 1 to 3 feet tall and is cultivated either broadcast or in drills like tur- nips in deep rich well-drained friable soil and in cool climates. It is a valuable green manure, since it efl'eetively smothers weeds. It is espe- cially esteemed as a sheep food. For dairy cattle it is less useful, since, unless fed with caution, it may unpleasantly flavor the milk. RAPE OF LUCRECE, The. ( 1 ) A poem by Shakespeare (1.594), founded on the story of Lucretia and Tarquinius Sextus. (2) A drama by Thomas Heywood (1630). RAPE OF THE LOCK, The. A mock-heroic poem by Alexander Pope (1712), enlarged in 1714, written to smooth over a quarrel caused by young Lord Petre's cutting off a lock of Miss Arabella Fermor's hair. The poem describes this incident with airy grace and vivacity, delicately satirizing the social life of the time. RAPE OF THE SABINES. A fine marble group, the work of Giovanni da Bologna (1583), representing a young Roman carrying oflF a wo- man of the Sabines over the body of a prostrate warrior. It stands in the Loggia de' Lanzi in Florence. The same subject is treated in a paint- ing by Giordano, in the Dresden ^luseum, and in one by Rubens, in the National Gallery in Lon- don. RAPHAEL SANTI, rii'fa-el siin'te (1483- 1520). The most celebrated painter of modern times, also noted as an architect. The modern Italian form of his name is Raffaello, and his family name is often written Sanzio. He was born at Urbino, on Good Friday (March 28th), 1483, according to Vasari, but according to the inscription upon his tomb by Cardinal Bembo, on April Gth. His father, GJiovanni Santi (q.v.), was a jjainter of some merit and a poet, and his mother, Magia, was the daughter of Battista Ciarla, a merchant of Urbino. Of Raphael's youth almo.st nothing is known. His mother died in 1491, and he came under the care of a young stepmother, against whom he appeared in a lawsuit after his father's death in 1494. He probably received a good education, and grew up in the refined and artistic atmosphere of the Court of Urbino. Like his father, he stood in high favor with Duke Guidobaldo and his wife, and especially with Ciiovanna delle Rovere, the Duke's sister. He acquired the rudiments of painting from his father, inheriting from him a genial eclecticism, but, by reason of the father's early death, his real instruction began with an- other master. According to the former view, based upon Vasari, he studied with Perugino at Perugia ; but Perugino's movements before 1499 render this view' extremely unlikely. Morelli has shown that Raphael's earliest works resemble those of Timoteo Viti (q.v.), an Um- brian painter, who was a disciple of Francia at Bologna, and resided at Urljino between 149.5 and 1500, of whom we also know that he was a friend of Raphael. As Perugino did not return to Perugia until 1499-1500, it was probably then that Raphael became his assistant. He imitated his master so closely that their works of this period are ver}- difficult to distinguish. He was also much influenced by Pinturicchio, though it is doubtful whether he assisted him, as Vasari states, in the frescoes of the Cathedral of Siena. Very important for this early period is the so- called Raphael's "Sketch Book" in the Academy of Venice, a collection of drawings by various Umbrian masters, which !Morelli has shown are mainly by Pinturicchio, though a few are prob- ably by Raphael after his designs. All the works of Raphael up to the time of his removal to Florence in 1504 belong to his Um- brian period. The earliest, according to Morelli, is a small "Saint Michael" in the Louvre, which also possesses "Apollo and JIarsyas" and "Saint George and the Dragon" of the same period. Best known of all is the charming "The Knight's Dream" (National Gallery. London), an alle- gory, resembling the mythical vision of Her- cules. These works closely resemble those of Timoteo Viti, in form and miniature-like execu- tion, as well as in a delightful poetic sentiment.. For Raphael's Madonnas of the Umbrian period, see Madonna. Raphael's more ambitious works resemble Perugino's, except that with him everrthing is more refined and artistic, the space composition is better, the execution more careful and powerful. After the departure of Perugino in 1502 he appears as an independent master at Perugia in his "Coronation of the Virgin," now in the Vatican Gallery. He executed three im- portant altarpieces in the neighboring Cittil di Castello, two of which survive — one, a "Cruci- fixion." being in the possession of IMr. Mond in London, the other, the famous "Sposalizio" (Mar- riage of the Virgin), in the Brera, Milan. The latter is generally supposed to be a copy of the same subject by Perugino at Caen, though