592 



CRUELTY 



CRUSADES 



Marisehal College, where he took his M.A., but, 

 having shown symptoms of insanity, was for a short 

 time placed in confinement. On his release he left 

 Aberdeen, and, after spending ten years as a tutor, 

 in 1732 established himself as a bookseller in Lon- 

 don. In 1737 appeared his Complete Concordance 

 of the Holy Scriptures, a really admirable work. 

 It was dedicated to Queen Caroline, who graciously 

 promised tp ' remember him,' but unfortunately 

 died a few days later. Cruden now relapsed into 

 insanity, and for ten weeks was kept in a mad- 

 house, as again for a fortnight in 1753. Earning 

 meanwhile his livelihood as a press-reader, he 

 assumed the title of 'Alexander the Corrector,' 

 and in 1755 began to go through the country, 

 reproving by voice and pen the nation's sins of 

 Sabbath- breaking and profanity. But many a 

 good and kindly action was interwoven with his 

 crack-brained courtships, his dreams of knighthood 

 and a seat in parliament. He was just back from 

 a visit to his native city, when he died at his 

 prayers in his Islington lodgings, 1st November 

 1770. See the Life by A. Chalmers, prefixed since 

 1824 to many of the numerous editions of the Con- 

 cordance. See CONCORDANCE. 



Cruelty. See ANIMALS (CRUELTY TO), CHIL- 

 DREN (CRUELTY TO). 



Criiikshaiik, GEORGE, one of the most gifted 

 of English pictorial satirists, was born in London, 

 September 27, 1792, the son of laaac Cruikshank, 

 who, as well as his eldest son, Isaac Robert Cruik- 

 shank, was also known as a caricaturist. Cruik- 

 shank at first thought of the stage as a profession ; 

 but some of his sketches having come under the 

 notice of a publisher, he was induced to engage in 

 the illustration of children's books and songs. 

 A publication, The Scourge (1811-16), afforded 

 scope for the display of his satiric genius, and from 

 that time forth he continued to pursue with re- 

 markable success this his true vein. His illustra- 

 tions for Hone's political squibs and pamphlets, 

 and especially those dealing with the Queen Caro- 

 line trial, attracted much attention, and sent some 

 of them through no less than fifty editions. But 

 in the exquisite series of coloured etchings con- 

 tributed to the Humorist (1819-21), and in the 

 etchings to the Points of Humour (1823-24), did 

 his true artistic power begin to be visible. This 

 second, and in many ways finest, period of his 

 art, represented by these works, culminated in 

 the etchings to Peter Schlemihl (1823), and to 

 Grimm's German Popular Stories (1824-26), which 

 in the simple directness and effectiveness of their 

 execution, and in their fertile and unencumbered 

 fancy, rank as the artist's masterpieces. The 

 latter series, now extremely scarce, was repro- 

 duced in 1868, with a laudatory preface from the 

 pen of Mr Ruskin. Similar in artistic aims and 

 method are the spirited little woodcuts contributed 

 to the Italian Tales (1824), Mornings at Bow Street 

 ( 1824-27), and Clark's Three Courses and a Dessert 

 ( 1830) ; and the plates to Scott's Demonoloqy and 

 Witchcraft (1830) may be regarded as tne last 

 examples of his earlier and simpler method as an 

 etcher. His numerous plates in Bentley's Miscellany 

 mark a third period of nis art, in which he aimed at 

 greater elaboration and completeness, introducing 

 more complex effects of chiar-oscuro, and frequently 

 attaining great power of tragic design. The finest 

 of these are the great series to Dickens's Oliver 

 Twist, and to Ainsworth's Jack Sheppard in 

 Bentley's Miscellany, and The Tower of London, 

 and in the same class are to be ranked the plates to 

 Windsor Castle, and The Miser's Daughter, of 

 which, as of Oliver Twist, he thirty years after- 

 wards claimed the chief authorship. Among the 

 best productions of his later years are the large 



and elaborate etchings to Brough's Life of Sir 

 John Falstaff, published in 1858. His last illus- 

 tration was the frontispiece to Mrs Blewitt's The 

 Rose and the Lily (1877), 'Designed and etched 

 by George Cruikshank, aged eighty-three, 1875.' 

 As a water-colourist he left work marked by con- 

 siderable skill and delicacy. In his late years he 

 devoted himself to oil-painting, and in this province 

 showed perhaps more liumour, fervour, and inven- 

 tive ability than artistic power. His most import- 

 ant picture was ' Worship of Bacchus ' ( 1862 ), which 

 has been engraved partly by his own hand, a 

 vigorous and earnest protest against the evils of 

 drunkenness ; and to the cause of temperance he 

 also devoted many of his designs, especially the 

 tragic and powerful series of The Bottle ( 1847), which, 

 reproduced by glyptography, attained an immense 

 circulation. He died 1st February 1878. There 

 are excellent collections of his works in the print- 

 room, British Museum ; the Royal Aquarium, 

 Westminster ; and the South Kensington Museum. 

 The last named, presented in 1884 by the artist's 

 widow, numbers 3481 items. See G. W. Reid'a 

 Catalogue (3 vols. 1871), and Lives by Bates (2d ed. 

 1879), Jerrold (2d ed. 1883), and Stephens (1891); 

 and Marchmont's The Three Cruikshanks (1897). 



Cruiser* formerly an armed ship employed to 

 protect commerce or capture enemies' ships. See 

 PRIVATEER, FRIGATE ; and for what are now 

 called 1st and 2d class cruisers, see NAVY. 



Crusades is the name given to the religions 

 wars carried on during the middle ages between 

 the Christian nations or the West and the Moham- 

 medans. In time, however, the name came to be 

 applied to any military expedition against heretics 

 or enemies of the pope. The first of the regular 

 crusades was undertaken simply to vindicate the 

 right of Christian pilgrims to visit the Holy 

 Sepulchre. On the conquest of Palestine, how- 

 ever, the object of the crusades changed, or at least 

 enlarged, and the efforts of the subsequent crusaders 

 were directed to the recovery of the whole land from 

 the Saracens, who had repossessed themselves of it. 

 From an early period in the history of the church, 

 it was considered a pious act to make a pilgrimage 

 to the Holy Sepulchre, and to visit the various 

 spots which the Saviour had consecrated by his 

 presence. When Palestine was conquered by the 

 Arabs in the 7th century, that fierce but generous 

 people respected the religious spirit of the pilgrims, 

 and allowed them to build a church and a hospital 

 in Jerusalem. Under the Fatimides of Egypt, who 

 conquered Syria about 980 A.D., the position both 

 of the native Christian residents and of the pilgrims 

 became less favourable ; but the subjugation of 

 the country in 1065 by brutal hordes of Seljuk 

 Turks from the Caucasus rendered it intolerable. 

 These barbarians, but recently converted to Moham- 

 medanism, were nearly as ignorant of the Koran 

 as of the Scriptures. They hardly knew their 

 fellow-religionists, and are s'aid to "have wreaked 

 their vengeance on the Mussulmans of Syria as 

 well as on the Christians. The news of their 

 atrocities produced a deep sensation over the whole 

 of Christendom. The first to take alarm were, 

 naturally enough, the Byzantine monarchs. In 

 1073 the Greek emperor, Manuel VII., sent to 

 supplicate the assistance of the great Pope Gregory 

 VII. against the Turks, accompanying his petition 

 with many expressions of profound respect for His 

 Holiness and the Latin Church. Gregory who 

 beheld in the supplication of Manuel a grand oppor- 

 tunity for realising the Catholic unity of Christen- 

 dom cordially responded ; but circumstances pre- 

 vented him from ever carrying the vast designs 

 which he entertained into execution, and the iuaa 

 of a crusade died gradually away. It was, however, 



