RAPE 



649 1 



RAPHAEL 



but not less than three years ; or by 

 imprisonment with or without hard 

 labour for a period not exceeding 

 two years. 



Rape. Division of the county of 

 Sussex. It is the equivalent of the 

 hundred in other counties. There 

 are six rapes, Hastings, Pevensey, 

 Lewes, Bramber, Arundel, and 

 Chichester. The rapes are men- 

 tioned in Domesday Book In early 

 times each had its own lord and 

 took its name from his castle. See 

 Sussex. 



Rape Cake. Artificial feeding- 

 stuff made from rape seed after ex- 

 traction of the oil. If pure, it is a 

 valuable food for milch cows. Rape 

 cake, ground into rape dust or 

 meal, is also used as a manure, and 

 gives good results with wheat, 

 barley, roots, including potatoes, 

 and hops. 



Rape of Lucrece, THE. Poem 

 by Shakespeare in seven-line stan- 

 zas, published 1594, and founded 

 on the story, told in Ovid's 

 Fasti, of the rape of Lucretia, the 

 wife of Collatinus, by Sextus Tar- 

 quinius. She sends for her hus 

 band and father, and, calling upon 

 them to revenge her, then kills 

 herself. See Lucretia. 



Rape of the Lock, THE. Mock- 

 heroic poem by Alexander Pope. 

 First published, anonymously and 

 incompletely, in 1712, it was based 

 on an incident which resulted in 

 the estrangement of two families. 

 Lord Petre had, in the summer of 

 1711, cut a lock of Arabella Fer- 

 mor's hair, and it was suggested to 

 Pope by a friend that he should 

 try to effect a reconciliation. The 

 result was The Rape of the Lock, 

 of which James Russell Lowell has 

 said that, taken in all, it is the 

 most perfect poem in the language. 

 It gives a wonderful impression of 

 the social life of the time. 



Raphael. In the O.T. Apo- 

 crypha, one of the seven angels 

 which present the prayers of the 

 saints and go in and out before the 

 glory of the Holy One (Tobit xii. 

 15). He is represented as being 

 sent to cure Tobit of blindness 

 and to bind the evil spirit Asmo- 

 deus (q.v.). See Angel. 



Raphael (1483-1520). Italian 

 painter. Born at Urbino, April 6, 

 1483, his father was Giovanni 

 Santi, a poet and painter, whose 

 name latinised into Sanctius was in 

 the son's italianised back into 

 Sanzio. His early training was 

 under Timoteo Viti, but when 

 seventeen he went to Perugia, to 

 work in the studio of Perugino, and 

 from the elder artist derived a 

 lasting impression. Later on, he 

 was in Florence, where he made a 

 particular study of the work in 

 sculpture of Donatello and Michel- 



angelo, and of the paintings of 

 Leonardo. He also at that time 

 became the intimate friend of the 

 Dominican, Fra Bartolommeo. To 

 this period of his career can be at- 

 tributed his long series of paintings 

 of the Madonna and Child, and his 

 greater altarpieces. In 1508 he 

 was in Rome, entrusted by Julius 

 II with the decoration of certain 

 rooms in the Vatican. It was then 

 that he painted his great group of 



i the Uffizi 



the Greek Philosophers, generally 

 known as the School of Athens. 



In 1512, Leo X, who had suc- 

 ceeded Julius II, commissioned 

 certain other frescoes, and the 

 work was finished in 1514. One of 

 the artist's most important por- 

 trait groups represented this pope 

 with two cardinals. Raphael's 

 designs for the tapestries of the 

 Sistine Chapel were prepared in 

 1515, and seven of them constitute 

 one of the great treasures of Eng- 

 land, and can be inspected at the 

 Victoria and Albert Museum. 



Raphael's architectural work 

 commenced in 1514, when he was 

 appointed by Leo X to succeed 

 Bramante as architect of S. 

 Peter's. The position entailed 

 great labour, and he added to it the 

 preparation of a survey of Ancient 

 Rome, cartoons for other frescoes 

 in the Vatican, portraits of many 

 notable persons, and a great pic- 

 ture of the Transfiguration, which 

 he intended should bo one of his 

 noblest works. This picture he 

 was never able to complete, only 

 the upper portion of it was from his 

 hand, and he died on Good Friday, 

 April 6, 1520, of fever, which he is 

 believed to have caught when in- 

 specting an ancient monument in 

 the neighbourhood of Rome. 



His works are very numerous, 

 and he also left behind him a vast 

 store of sketches. He can best bo 

 studied in the Vatican, and in the 

 galleries of Florence, Rome, Lon- 

 don, Paris, Dresden, and Madrid. 

 His most popular pictures are the 

 wonderful Madonna de San Sisto, 

 in Dresden ; the Madonna della 

 Sedia and the Madonna del Gran 

 Duoa in Florence ; the St. George 

 and the Dragon in Petrograd ; the 

 portraits in the Pitti Gallery in 

 Florence ; and the Ansidei Madonna 

 in London. The last named was 

 painted for the Ansidei family of 

 Perugia, c. 1506, and bought in 

 1885 for the National Gallery, 

 which contains, among other ex- 

 amples, a delicate instance of the 

 master's early manner in the small 

 Vision of a Knight. His earliest im- 

 portant work under the Perugino 

 influence is the Crucifixion in the 

 Mond collection in London. Ra- 

 phael's Madonnas, notably the San 

 Sisto at Dresden, are the greatest 

 works of their kind the world has 

 ever seen. No other artist ever 

 painted such Divine tenderness in 

 a woman's face or produced pic- 

 tures which so fully " create a 

 religious emotion." 



Raphael is believed to have 

 painted about two dozen portraits, 

 but some are doubtful attributions, 

 and some are no longer extant. His 

 self-portrait in the Uffizi was pro- 

 bably painted at Urbino in 1506, 

 and his beautiful portrait of an 

 unknown lady in that gallery is of 

 similar date. The impressive por- 

 trait of Pope Julius II, in the 

 Pitti Gallery, with replica in the 

 Uffizi, dates from 1511-12, and 

 that of Baldassare Castiglione, in 

 the Louvre, is a well-known por- 

 trait which later excited the ad- 

 miration of Rembrandt and Ru- 

 bens. His portraits are generally 

 reckoned of secondary importance 

 in his work, but in the best of these 

 Raphael showed in a small com- 

 pass the same mastery of drawing 

 and power of conveying character 

 as in his greater compositions. 

 See Angel ; Art ; Galatea ; Gregory 

 VII ; Halo ; Horace ; Jacob ; Jesus 

 Christ ; Julius II ; Madonna ; 

 Noah ; Painting ; etc. 



O. C. Williamson 



Bibliography. Lives, R. Duppa, 

 1816 ; j. A. Crowe & O. B. Caval- 

 casolle, 1882-85 ; E. Miintz, Eng. 

 trans. 1896; II. Strachey, 1900; 

 J. Cartwright, 1905 ; E. MacCurdy, 

 1917 ; Critical Account of the 

 Drawings of M. Angelo and Raphael, 

 J. C. Robinson, 1870 ; Schools of 

 Painting in Italy, F. T. Kugler, Eng. 

 trans. 6th ed. rev. A. H. Layard, 

 1891 ; Raphael's Madonnas! K. 

 Karoly, 1894 ; Raphael in Rome, 

 J. Cartwright, 1895 ; Lives of the 

 Italian Artists, G. Vasari, 1912. 



