$H Crucifix, Crucifixus.
|
Crucifix. The repres=
entation
of the Saviour on the Cross was first introdu=
ced in
the time of |
|
Crucifix. A represen=
tation
of the punishment of Jesus Christ on the cross. The term is specially app=
lied
to the sculptured images whi=
ch in
Catholic churches are placed upon the altar. Before the time of
|
|
Crucifix,
Crucifixus (Lat.)
The representation of the Saviour on the cross, but especially that plast=
ic
one seen on the altars of Catholic churches, in the centre of which it
stands, overtopping the tapers, and only removed at the elevation of the
Host. Its intention was to lead the mind back to the cross, which was set=
up
on the altar, or in some convenient spot. It was first known in the time =
of *
Dr. Kitto, in his Biblical Notes, remarks that
painters, either from design or inattention, represent the cross as much =
more
elevated than it actually was. The feet of the crucified person was seldom
more than four feet above ground, and rested on a projection of wood, tha=
t the
whole weight of the body might not be borne by the hands, so as to rend t=
hem
from their fastenings. The criminal was stripped entirely naked by the
soldiers. Later artists, such as Schinkel of
Berlin, have enveloped the Saviour in drapery, leaving the body in its
customary position; he has also added the angel by the side, by which
addition these crucifixes, intended in the spirit of Christian aesthetics=
for
Protestant churches, become mere symbolic representations of Christian id=
eas.
The unpleasant sight of the nailed feet is avoided by their resting free =
and
unbound on the globe, so that only the arms are fastened by nails to the
cross. We are now too much accustomed to the naked figure to allow of the
innovation of representing Christ after the old custom; we may also quest=
ion
whether the great simplicity of the original crucifix had not more effect.
Since the restoration of Art, the haggard, sorrowful character of the fig=
ure
has disappeared, and artists have represented the ideal of human beauty i=
n the
mortal form as a token of the concealed Godhead. (1855f1)
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![](3D"cru_files/image017.gif")
![](3D"cru_files/image018.gif")
$H Cruciform.
|
Cruciform. (Arch.) I=
n the
form of a cross. A church is said to be cruciform when the nave, choir, a=
nd
presbytery form a cross with the two transepts. This is the ground plan of
the majority of Gothic churches. Churches of this plan generally assume t=
he
form of the Latin cross, but churches in the form of a Greek cross are
sometimes met with.(1891a1) |
|
Cruciform. Shaped to form a cross. The illustration
represents a specimen of ancient Egyptian porcelain, of this shape,
ornamented with the lotus. (See EGYPTIAN POTTERY.) Fig. 219. Porcelain Cruciform Box (Egyptian).(1883m1)
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![](3D"cru_files/image019.gif")
$H Crude. Painting
|
Crude. (Paint.) A te=
rm
applied to colours which owing to their unskilful distribution appear too violent and
hard.(1891a1) |
$H Cruets.
|
Cruets. The small ve=
ssels
which contain the wine and water used in the celebration of the sacrament=
. It
is ordered by the Roman Catholic Church that they should be of glass or s=
ome
transparent substance, that the officiating pr=
iest
might easily distinguish between the water and the wine. This ordinance,
however, is not adhered to, and the cruets
are frequently made of metal. The term commonly denotes the vessels which
hold condiments at table. ILLUS. cruets(1891a1)
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![](3D"cru_files/image020.gif")
$H Crumata. (See CRUSMATA.)= (1883m1)
$H Crumena.
|
Crumena. R. A leathe=
r pouch
for carrying money. The balantion of the Greeks was worn suspended from the ne=
ck
by a strap.(1883m1) |
$H Crumenal.
|
Crumenal. O.E. A
purse.(1883m1) |
$H Crupezia.
|
Crupezia. Gr. (6D@bT[=3Dkrouo], to stri=
ke). A
kind of sandal with a double sole, in the middle of which were castanets =
with
springs. (See CROTALUM.) Greek flute‑players used them in the theat=
re
to beat time to the singing and declamation of the chorus.(1883m1) |
$H Crusca, Accademia della.
|
Crusca, Accademia
della. A literary academy established in Flor=
ence
in the 15th century by Cosmo de' Medici; their device, a bolting‑mi=
ll,
represented in Fig. 220, was symbolical of their object to cultivate the
Italian language by winnowing the flour from the bran; and in allusion to=
it,
the members called themselves by appropriate names, as Infarinato,
Rimenato, Gramolato, Insaccato, &c. On the top of the shield is the =
Marzocco, or Lion of Florence, the emblem of the ci=
ty. Fig. =
220.
Device of the Della Cruscan Academy
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![](3D"cru_files/image021.gif")
$H Crusilée, Crusily .
|
Crusilée, Crusily. Her.
Having the field semée of small
crosses.(1883m1) |
$H Cruske.
|
Cruske. O.E. An eart=
hen
vessel; cf. the Irish cruishkeen.(1883m1) |
$H Crusmata.
|
Crusmata, Crumata. G=
r. and
R. (=
6D@bT[=3Dkrouo], to stri=
ke).
Castanets.(1883m1) |
$H Crustae.
|
Crustae. R. In the f=
inest
works of the chaser, the ornamental pattern was frequently distinct from =
the
vessel, to which it was either fastened permanently, or so that it could =
be
removed at pleasure, the vessel being of silver, and the ornaments of gol=
d,
which were called crustae
or emblemata=
(Dr. Smith). Of these the former were the figures embossed in low relief,=
and
the emblemat=
a
were those in high relief. (See DAMASCENING, EMBLEMATA.)(1883m1) |
$H Crustulum.
|
Crustulum. R. (dimin. of crustum). Anything baked; plaster mouldings;
a cheap kind of decoration in bas‑relief.(1883m1) |
$H Crutch.
|
Crutch. An attribute=
of St.
Anthony, to denote his age and feebleness.(1883m1) |
$H Crux.
|
Crux. The Latin equi=
valent
for CROSS (q.v.).(1883m1) |
$H Crux Ansata.<= span style=3D'mso-spacerun:yes'> See Ansata. (1876c1)
$H Crwth.
|
Crwth. (A.S. crudh, =
|
$H Crypt, Crypta.
|
Crypt. (Arch.) A
subterranean chapel generally vaulted, serving as a place of burial. Cryp=
ts
were also built to keep alive the memory of the first Christian churches.=
In
many English churches, such as Ripon and Rochester Cathedrals, the crypt =
is
older than any portion of the superstructure. Among the finest specimens =
of
the crypt in
|
|
Crypta, Crypt, Chr. (=
6D=
bB=
JT[=3Dkrupto=
], to
bury). In ancient times the crypt was really a cloister; it formed, in fa=
ct,
a long and narrow gallery surrounded by buildings, and itself
surrounding a building, garden, or court. The courtyards of villae =
were surrounded
by crypts; the ruins of Diomed's villa, at Fig. 221. Crypt at Lanmeur (France). Fig. 222. Crypt of St. Mary's Church, Warwick.(1883m1)
|
![](3D"cru_files/image022.gif")
![](3D"cru_files/image023.gif")
![](3D"cru_files/image024.gif")
$H Crypteia.
|
Crypt=
eia (6DLBJ,\"[=3Dkrupteia]). |
$H Cry=
stal
|
|
|
|
$H Crystalotype.=
|
Crystalotype. A sun&=
#8209;picture
taken and fixed on glass by the collodion
process.(1883m1) |
|
Crystalotype. A sun picture ta=
ken
on glass by the collodian process. The differ=
ence
between this process and the Talbotype, in
producing a negative, by which
other impressions may be taken on paper, is, that by the process of J. Fox
Talbot ** the negative or ty=
pe is
made upon paper which is afterwards waxed, in order to give transparency,=
and
thus make it a medium through which positives are taken. The crystalotype is formed at once, and imparts to the =
positive or reflected picture a
greater clearness of detail, and finer tone. ** See CALO=
TYPE. =
(1855f1) |