CRUCIFER^. 623 CBUDOR. C'ruuifei-ix; eontaiu a fixed oil, whii-li is cxtnu-ti'd from some (rape, colza, in Euiojie; Caiiuliiia saliva ami Erysimum ]jerl'uliatuiii in Jajjan), to be used as a lamp-oil and in (he arts, and the oil cake of which is valuable for fe«din<^ cat- tle. The plants of this order belonj; mostly to the temperate parts of the Xorthcrn llemis|)liere, and particularly abound in Kurope. Compara- tively few are found within the tropics. As now understood, the prineijial divisions and genera of the Crucifera' are: Thelypodiea'. represented by Thelyiioiliiua : Sinapc;e, with Lepidium, Iberis, Cochlearia, Alliaria, .Sisymbrium, Sinapis, liras- sica, Nasturtium, and t'ardamine as the chief j,'cnera : Schizopetalea;, represented by Scliizope- talon; and Hesperidea;, which embraces Capsella, Draba, Arabis, Erysimum, Alyssum, Hes])eris, .Matthiola. and Conringia. CRUCIFIX (Lat. criici /ixus, fastened to the cross, from cnijc, cross + /igere, to fasten). A cross with the effigy of Christ affixed to it. it nuist be distinguished, as an instrument of de- votion and liturgical use, from tiie pictorial or other representations of the scene of the Cruei- ti.xion (q.v. ). The cross (q.v. ), at first used for devotional and symbolic purposes in its simplest form, came first to be decorated with the SNTiibolic sacrificial lamb (see Chbist in Art), with the addition sometimes of the me- dallion bust of Christ, as in the Vatican cross. Perhaps the earliest cruciti.xes were small de- votional objects which contained portions of the supposed true cross, siich as that of Mount Athos, or were jiictorial crosses, like that of Queen Theodolinda at Jlonza (sixth century). During the Carlovingian Age the crucifix came into somewhat more general use in the West, but, having been opposed in the East shortly after its introduction by the image-hating Iconoclasts (eighth century), it obtained a foothold there not as a plastic image, but in the form of a pictured Crucifixion. The manner in which the figure of Christ was represented on the cruci- fix is the same as that in luctures of the Cruci- fixion. During the Romanesque and Gothie periods there Vas an increasing numljcr of large crucifixes, in .some of tvhich the figure was al- most or wholly life-size. These were mainly of four classes — the stationary alfnr crucifix, that stood in the centre of the altar or at the entrance to the choir, sometimes with accompanying statues of the Virgin and Saint .John (e.g. at Wechselburg. Sa.xony, thirteenth century); the road crucifix, at cross-roads, or to mark certain spots for devotion; the station crucifix, which often crowns a hall at the end of a line of devo- tional stations (q.v.) known as the Way of the Cross: the processional crucifix, usually smaller and of metal, carried in religious processions. All such crucifix'es became very numerous from the thirteenth to the sixteenth century, and were sometimes carved by the greatest sculptors, as in the ease of Brunelleschi's crucifix in Santa Maria Novella, and Donatello's, also in Florence. A curious compromise between a picture of the Crucifixion and a crucifix is a class of represen- tations in which the figure of Christ is painted on a panel cut in the shape of a cross. A A-ery early instance is in the Cathedral of Spoleto. Others by the Berlingliievi. Maigheritone, and other early painters (thirteenth century) exist at Lucca, Pisa, and Florence. The plastic cruci- fix was more popular in northern Europe than in Italy before the fifteenth century, and was often executed in wood, while for smaller examples ivory and metals were most used. Tile realistic schools of North Italy, however, during the fif- teenth and sixteenth centuries, gloried in realis- lie crucifixes of painted wood and terra-cotta, especially the artists of Modena. The most im- pressive are the large station crucifixes, such as that of the Saero Monte at Varallo. Consult: Carus, "The Crucifi.x," in 7'/ic Open Court, vol. xiii. (Chicago, 18'JU) ; Stockbauer, h'uiistyc- scliichte des Kreuzcs (Schaffhausen, 1820). CRUCIFIXION, Thk. llie title of many ]iaintiiigs, among the mo.st famous of which are: Lucas Cranach's, in the Stadtkirche at Weimar, (Jermany; Albert Diin'r's, in the Dresden Mu- seum ; Mantegna's, in the Louvre : Van Dyck's, in Saint Michael's, Ghent; Rubens's, in the Ant- werp Jluseum ; Perugino's, a fresco, at the chap- terhouse of Santa Maria iiaddalena dei Pazzi, in I'^lorence : Tintoretto's, in the Scuola di San Koeco, Venice ; Fra Angelico's in the monas- tery ( now the museum ) of San Marco, Flor- ence. Twenty saints in life-size surround the cross, and below are portraits of seventeen Dominicans. CRUDEN, krTTU'dpn, ALEXANnEn (1701-70). An English scholar, maker of a well-known Bible concordance. He was horn at Aberdeen and edu- cated at Marischal College in that city, with a view to the Church, but liaving exhibited decided symptoms of insanity, he was for some time jjlaced in confinement. On his release he left Aberdeen, and after spending several years as a tutor in and about London, settled in London in 17.32 as a bookseller. In 1735 he received the title of 'bookseller to the Queen.' In 1730 he began, and the next year published, his Complete Concordance of the Holy fScriptures of Ike Old and ew Testaments. Soon afterwards lie re- lapsed into insanity and his friends were obliged to remove him to a private asylum, where he appears to have been harshly treated. On his recovery he published an account of his sufl'er- ings (1738). He then acted as a corrector for the press. Cruden now believed himself divinely commissioned to refonn the manners of the world, and styled himself Alexander the Correc- tor. He went about the country exhorting the ])eople to keep holy the Snbbath day. etc. He also petitioned the King for the honor of kiiight- liood, and Parliament to constitute him by act 'the corrector of the people,' hoping by sueh honors to influence the (leople more efTectually. The second edition of his concordance appeared in 1701 and the third in 170!1; since then it has been repeatedly reprinted in full, with his defini- tions, which make it a Bilile dictionary, or in abridgment, and has been made the basis of other concordances. Perhaps the best edition of the complete work is by .lexander Chalmers (London. 1812: 10th ed.' 1824). with his life. Cruden died at Islington, London, November 1, 1770. See Concordance. CRU'DOR, Sir. knight in Spenser's Faerie Qmeiir. who before he will marry P.rianiv demands nf her enough hair from ladies' curls and kniglits' beards to 'piirlle' him a cloak. This she obtains from passers-by until Sir Calidore vanquishes him, and people are again free to pass the castle unshorn.
