$H Crimson.

Crimson. = (Arab. cremisi, the cochineal in= sect). A deep tone of red, tinged with blue.(1883m1)

Crimson. The colour known by this name is red, reduced to a deep tone by t= he presence of blue. (1855f1)

$H Crimson Lake.

Cr= imson Lake. (Paint.) A rich red pigment consisting of the extract of the coccus cacti insect, with oxid= e of iron as a base It is more useful in watercolour than in oil‑painting. It is not very permanent, and disappears unde= r a strong light.(1891a1)

$H Crinale.

Crinale. R. (crinis,= the hair). A large convex comb worn by women and children at the back of the head.(1883m1)

$H Crined.

Crined. Her. Having = a mane or hair.(1883m1)

$H Crinetts.

Crinetts. O.E. The l= ong small black feathers on a hawk's head. (H.)(1883m1)

$H Crinze.

Crinze. O.E. A drink= ing cup. (H.)(1883m1)

$H Criobolê.

Criobolê Gr. (= 6D4@$`80[=3Dkriobole]). A s= acrifice to Cybele, so called because the victim was a= ram (6D4`H[=3Dkrios]).(1883m1= )

$H Criophorus.

Criophorus. The word= = 6= D= 4= @= N= `= D= @= H[=3Dkriophoros] mea= ns literally "one who carries a ram." It was the name given by the people of Tanagra to Hermes, who had saved them from a plague by carrying a ram round the walls. Examples of the criophorus are found not only in Greek art= , but in Graeco‑Roman and Christian art. Herm= es especially is thus represented.(1891a1)

$H Crispin, Crispinia= n, and Crispianus, St= s.

Crispin and Crispianus, SS. Two saints who left Rome with St. De= nis to preach the gospel in France. During their mission they worked at their trade as shoemakers, and they a= re said to have been supplied with leather by angels. They are consequently = the patron saints of shoemakers, and representations of them are frequently f= ound in the shoemakers' guilds of France and Germany. They were long very popular saints in England. Their attributes a= re an awl and the palm.(1891a1)

Crispin and Crispinian, Sts. The tutelar saints of the shoema= kers, who are sometimes represented at work at that trade, * which their legend tells us they practised, although nobly born, to procure subsistence and help the poor, angels sometimes supplying the leather. The tools of shoemakers, or a hide cut into thongs, are their attributes.

* See a cu= rious instance in Hone's Every-day Book= , vol. i. (1855f1)=

$H Crispine.

Crispine. (Cost.) A = head‑dress; the mediaeval form of the classical calantica (q.v.). It was fastened over the head by a clasp, and it is uncertain what its exact form was. By some writers it is described as a transparent veil= , by others as a network to confine the hair. ILLUS. crispine(189= 1a1)

<= /o:p>

$H Crista.

Crista. R. The crest= of the helmet, which was attached to an elevated ridge (generally of horsehair).= A fine example is given in the head of "Rome," on the Tazza of Diruta. (Fig. 252.) (See CREST.)(1883m1)

$H Cristatus.

Cristatus. R. (crista)= . Having a ridge and a crest. (Fig. 252.)(1883m1)

$H Cristendom.

Cristendom. O.E. Bap= tism. &quo= t;And that bastard that to the ys dere, Crystyndome<= /i> schalle he none have here." (H.)(1883m1)

$H Cristygrey.

Cristygrey. A kind o= f fur much used in the 15th century. "Of no devyse embroudid hath hire wede= , Ne furrid with ermyn ne with cristygrey."(1883m1)

$H = Crites.

Crite= s (6D4JZH[=3Dk= rites]). A judge in equity, as opposed to DIKASTES, a judge in law.(1883m1)

$H Critic.

Critic. A writer who examines, discusses, and expresses a judgment upon works of art.(1891a1)<= o:p>

Critic. One who analyses the ruling principles w= hich guide a work of Art, and points out deviations from taste and accuracy; or enforces merits, by his acumen in discovering beauties of intention and execution. It is the rarest of all qualifications, seldom honestly exerte= d, and most frequently practised by those who have temerity and pretension rather than judgment. In Art, it is particularly rare to find good critic= ism, based on a knowledge of its true principles. (1855f1)

$H Criticism.

Criticism. The exact analysation of Art, not the praise or censure of the pretender to knowledge, which is frequently, but erroneously, termed criticism; and which is also too generally considered merely as the art of finding faults. (1855f1)