CRUCIFIX, the representation of the Saviour on the cross, but especially that plastic one seen on the altars of Catholic churches, in the centre of which it stands, overtopping the tapers, and only remov ed at the elevation of the host. Its in tention 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 Constantine, and takes the place of the real crucifix in the Eastern church. The latter was not com mon till the end of the eighth century. The Greek church never publicly accept ed it, although it appears in the quarrel about images, but used the simple cross. It was not general in the Latin church until the Carlovingian era. From the disciplina arcani and the early prohibi tion of images by the Synod of Elvira, (305,) an early use of the crucifix may be supposed, as it referred immediately to the first Christian dogma. At first the simple cross was sufficient—crux ill, nl issa or capilala ; crux decussata X ; and crux commissa T—the Lamb standing under a blood-red cross. The addition of the Saviour's bust at the head or root of the cross while the Lamb lay in the centre, was the next step towards the cru cifix; and afterwards Christ himself was represented clothed, his hands raised in prayer, but not yet nailed. At last he appeared fastened to the cross by ' four nails, (seldom by three,) and on the • older crucifixes alive, with open eyes ; on the later ones, (from the tenth to the eleventh century,) sometimes dead. Christ was often clad in a robe, having the regal crown on his head; more re cently the figure wore only a cloth round the loins, and the crown of thorns. This
representation was continued, and the crucifix regarded se an indispensable at tribute of churches and altars. The num ber of them increased, as they were par ticular objects of veneration ; and large ones of wood or stone were placed at the entrances of the church. The altar cru cifix was generally of gold or silver, adorned with pearls or precious stones. Later artists have enveloped the Saviour in drapery, leaving the body in its cus tomary position ; they have also added the angel by the side, by which addition these crucifixes intended in the spirit of Christian /Esthetics for Protestant church es, become more symbolic representations of Christian ideas. The unpleasant sight of the nailed feet is avoided by their rest ing free and unbound on the globe, so that only the arms are fastened by nails to the cross. We are now too much ac customed to the naked figure to allow of the innovation of representing Christ after the old custom ; wc may also ques tion whether the great simplicity of the original crucifix had not more effect. CRUDE, in painting, a term applied to a picture when the colors are rudely laid on, and do not blend or CRC USER, a small armed vessel that sails to and fro in quest of the enemy, to protect the commerce of its own nation, or for plunder.