Chapter V: Front Matter (5)

CROQUET (from Fr. _croc_, a crook, or crooked stick), a lawn game played with balls, mallets, hoops and two pegs. The game has been evolved, according to some writers, from the _paille-maille_ which was played in Languedoc at least as early as the 13th century. Under the name of _le jeu de la crosse_, or _la crosserie_, a similar game was at the same period immensely popular in Normandy, and especially at Avranches, but the object appears to have been to send the ball as far as possible by driving it with the mallet (see _Sports et jeux d'adresse_, 1904, p. 203). Pall Mall, a fashionable game in England in the time of the Stuarts, was played with a ball and a mallet, and with two hoops or a hoop and a peg, the game being won by the player who ran the hoop or hoops and touched the peg under certain conditions in the fewest strokes. Croquet certainly has some resemblance to _paille-maille_, played with more hoops and more balls. It is said that the game was brought to Ireland from the south of France, and was first played on Lord Lonsdale's lawn in 1852, under the auspices of the eldest daughter of Sir Edmund Macnaghten. It came to England in 1856, or perhaps a few years earlier, and soon became popular.

In 1868 the first all-comers' meeting was held at Moreton-in-the-Marsh. In the same year the All England Croquet Club was formed, the annual contest for the championship taking place on the grounds of this club at Wimbledon.[1] But after being for ten years or so the most popular game for the country house and garden party, croquet was in its turn practically ousted by lawn tennis, until, with improved implements and a more scientific form of play, it was revived about 1894-1895. In 1896-1897 was formed the United All England Croquet Association, on the initiative of Mr Walter H. Peel. Under the name of the Croquet Association, with more than 2000 members and nearly a hundred affiliated clubs (1909), this body is the recognized ruling authority on croquet in the British Islands. Its headquarters are at the Roehampton Club, where the championship and champion cup competitions are held each year.

_The Game and its Implements._--The requisites for croquet are a level grass lawn, six hoops, two posts or pegs, balls, mallets, and hoop-clips to mark the progress of the players. The usual game is played between two sides, each having two balls, the side consisting of two players in partnership, each playing one ball, or of one player playing both balls. The essential characteristic of croquet is the scientific combination between two balls in partnership against the other two. The balls are distinguished by being coloured blue, red, black and yellow, and are played in that order, blue and black always opposing the other two.

The ground for match play measures 35 yds. by 28 yds., and should be carefully marked out with white lines. In each corner a white spot is marked 1 yd. from each boundary. The hoops are made of round iron, not less than 1/2 in. and not more than 3/4 in. in diameter, and standing 12 in. out of the ground. For match play they are 3(3/4) or 4 in. across, inside measurement. They are set up as in the accompanying diagram, the numbers and arrows indicating the order and direction in which they must be passed. Each hoop is run twice, and each peg struck once. The pegs may be struck from any direction.

The pegs are 1(1/2) in. in diameter and when fixed stand 18 in. above the ground. The balls were formerly made of boxwood (earlier still of beechwood); composition balls are now in general use for tournaments. They must be 3-5/8 in. in diameter and 15 oz. to 16(1/2) oz. in weight. It will be seen that for match play the hoops are only 1/8 or at the most 3/8 in. wider than the diameter of the ball. The mallets may be of any size and weight, but the head must be made of wood (metal may be used only for weighting or strengthening purposes), and the ends must be parallel and similar. Only one mallet may be used in the course of a game, except in the case of _bona fide_ damage.

The object of the player is to score the points of the game by striking his ball through each of the hoops and against each of the pegs in a fixed order; and the side wins which first succeeds in scoring all the points with both the balls of the side. A metal clip corresponding in colour with the player's ball is attached to the hoop or peg which that ball has next to make in the proper order, as a record of its progress in the game. No point is scored by passing through a hoop or hitting a peg except in the proper order. Thus, if a player has in any turn or turns driven his ball successively through hoops 1, 2, and 3, his clip is attached to hoop 4, and the next point to be made by him will be that hoop; and so on till all the points (hoops and pegs) have been scored. Each player starts in turn from any point in a "baulk" or area 3 ft. wide along the left-hand half of the "southern" boundary, marked A on the diagram, of the lawn--till 1906, from a point 1 ft. in front of the middle of hoop 1. If he fails either to make a point or to "roquet"[2] (i.e. drive his ball against) another ball in play, his turn is at an end and the next player in order takes his turn in like manner. If he succeeds in scoring a point, he is entitled (as in billiards) to another stroke; he may then either attempt to score another point, or he may roquet a ball. Having roqueted a ball--provided he has not already roqueted the same ball in the same turn without having scored a point in the interval--he is entitled to two further strokes: first he must "take croquet," i.e. he places his own ball (which from the moment of the roquet is "dead" or "in hand") in contact with the roqueted ball on any side of it, and then strikes his own ball with his mallet, being bound to move or shake both balls perceptibly. If at the beginning of a turn the striker's ball is in contact with another ball, a "roquet" is held to have been made and "croquet" must be taken at once. After taking croquet the striker is entitled to another stroke, with which he may score another point, or roquet another ball not previously roqueted in the same turn since a point was scored, or he may play for safety. Thus, by skilful alternation of making points and roqueting balls, a "break" may be made in which point after point, and even all the points in the game (for the ball in play), may be scored in a single turn, in addition to 3 or 4 points for the partner ball. The chief skill in the game perhaps consists in playing the stroke called "taking croquet" (but see below on the "rush"). Expert players can drive both balls together from one end of the ground to the other, or send one to a distance while retaining the other, or place each with accuracy in different directions as desired, the player obtaining position for scoring a point or roqueting another ball according to the strategical requirements of his position. Care has, however, to be taken in playing the croquet-stroke that both balls are absolutely moved or perceptibly shaken, and that neither of them be driven over the boundary line, for in either event the player's next stroke is forfeited and his turn brought summarily to an end.

There are three distinct methods of holding the mallet among good players. A comparatively small number still adhere to the once universal "side stroke," in which the player faces more or less at right angles to the line of aim, and strikes the ball very much like a golfer, with his hands close together on the mallet shaft. The majority use "front play," in which the player faces in the direction in which he proposes to send the ball. The essential characteristic of this stroke is that eye, hand and ball should be in the same vertical plane, and the stroke is rather a swing--the "pendulum stroke"--than a hit. There are two ways of playing it. The majority of right-handed front players swing the mallet outside the right foot, holding it with the left hand as a pivot at the top of the shaft, while the right hand (about 12 in. lower down) applies the necessary force, though it must always be borne in mind that the heavy mallet-head, weighing from 3 to 3(1/2) lb. or even more, does the work by itself, and the nearer the stroke is to a simple swing, like that of a pendulum, the more likely it is to be accurate. Either the right or the left foot may be in advance, and should be roughly parallel to the line of aim, the player's weight being mainly on the rear foot. Most of the best Irish and some English players swing the mallet between their feet, using a grip like that of the side player or golfer, with the hands close together, and often interlocking. It is claimed that the loss of power caused by the hampered swing--usually compensated by an extra heavy mallet--is more than counterbalanced by the greater accuracy in aim. The beginner is well advised to try all these methods, and adopt that which comes most natural to him. Skirted players, of course, are unable to use the Irish stroke; and, as one of the most meritorious features of croquet is that it is the only out-of-door game in which men and women can compete on terms of real equality, this has been put forward as a reason for barring it, if it is actually an advantage.

When a croquet ground is thoroughly smooth and level, the game gives scope for considerable skill; a great variety of strokes may be played with the mallet, each having its own well-defined effect on the behaviour of the balls, while a knowledge of angles is essential. Skilful tactics are at least as necessary as skilful execution to enable the player so to dispose the balls on the ground while making a break that they may most effectively assist him in scoring his points. The tactics of croquet are in this respect similar to those of billiards, that the player tries to make what progress he can during his own break, and to leave the balls "safe" at the end of it; he must also keep in mind the needs of the other ball of his side by leaving his own ball, or the last player's ball, or both, within easy roqueting distance or in useful positions, and that of the next player isolated. Good judgment is really more valuable than mechanical skill. Croquet is a game of combination, partners endeavouring to keep together for mutual help, and to keep their opponents apart. It is important always to leave the next player in such a position that he will be unable to score a point or roquet a ball; a break, however profitable, which does not end by doing this is often fatal. Formerly this might be done by leaving the next player's ball in such a position that either a hoop or a peg lay between it and all the other balls ("wiring"), or so near to a hoop or peg that there was no room for a proper stroke to be taken in the required direction. Under rule 36 of the _Laws of Croquet_ for 1906, a ball left in such a position, provided it were within a yard of the obstacle ("close-wired"), might at the striker's option be moved one yard in any direction. This rule left to the striker whose ball was "wired" more than a yard from the hoop or peg ("distance-wired") the possibility of hitting his ball in such a way as to jump the obstacle. The jump-shot is, however, very bad for the lawn, and in 1907 a further provision was made by which the player whose ball is left "wired" from all the other balls by the stroke of an opponent may lift it and play from the "baulk" area. This practically means that "wiring" is impossible. The most that can be done is to "close-wire" the next player from two balls and leave him with a difficult shot at the third. If, however, the next player's ball has not been moved by the adversary, the adversary is entitled to wire the balls as best he can.

The following is a specimen of elementary croquet tactics. If a player is going up to hoop 5 (diagram 1) in the course of a break, he should have contrived, if possible, to have a ball waiting for him at that hoop and another at hoop 6. With the aid of the first he runs hoop 5 and sends it on to the turning peg, stopping his ball in taking croquet close to the ball at 6. The corner hoops are the difficult ones, and after running hoop 6 the assisting ball is croqueted to 1 back, the peg being struck with the aid of the ball already there, which is again struck and driven to 2 back. If the player has been able to leave the fourth ball in the centre of the ground (known as a centre ball), he hits this after taking croquet, takes croquet, going off it to the ball at 1 back, and continues the break, leaving the centre ball where it will be useful for 3 back and 4 back. A first-class player should, however, be able to make a break with 3 balls almost as easily as with 4. A useful device, especially in a losing game, is to get rid of the opponent's advanced ball if a "rover" (i.e. one which has run all the hoops and is for the winning peg) by croqueting it in such a way that it hits the peg and is thus out of the game. This can be done only by a ball which is itself also a rover. The opponent has then only one turn out of every three, and may be rendered practically helpless by leaving him always in a "safe" position. Inasmuch as a skilful player can cause an opponent's ball to pass through the last two or even three hoops in the course of his turn and then peg it out, it is considered prudent to leave unrun the last three hoops until the partner's ball is well advanced. There is a perennial agitation in the croquet world for a law prohibiting the player from pegging out his opponent's ball. Many good players also think it desirable that the four-ball break should be restricted or wholly forbidden, e.g. by barring the dead ball.

To "rush" a ball is to roquet it hard so that it proceeds for a considerable distance in a desired direction. This stroke requires absolute accuracy and often considerable force, which must be applied in such a way as to drive the player's ball evenly; otherwise it is very liable, especially if the ground be not perfectly smooth, to jump the object ball. The rush stroke is absolutely essential to good play, as it enables croquet to be taken (e.g.) close to the required hoop, whereas to croquet into position from a great distance and also provide a ball for use after running the hoop is extremely difficult, often impossible. To "rush" successfully, the striker's ball must lie near the object ball, preferably, though not necessarily, in the line of the rush. By means of the rush it is possible to accomplish the complete round with the assistance of one ball only. To "cut" a ball is to hit it on the edge and cause it to move at some desired angle. "Rolling croquet" is made either by hitting near the top of the player's ball which gives it "follow," or by making the mallet so hit the ball as to keep up a sustained pressure. The first impact must, however, result in a distinctly audible single tap; if a prolonged rattle or a second tap is heard the stroke is foul. The passing stroke is merely an extension of this. Here the player's ball proceeds a greater distance than the croqueted ball, but in somewhat the same direction. The "stop stroke" is made by a short, sharp tap, the mallet being withdrawn immediately after contact; the player's ball only rolls a short distance, the other going much farther. The "jump stroke" is made by striking downwards on to the ball, which can thus be made to jump over another ball, or even a hoop. "Peeling" (a term derived from Walter H. Peel, a famous advocate of the policy) is the term applied to the device of putting a partner's or an opponent's ball through the hoops with a view to ultimately pegging it out.

The laws of croquet, and even the arrangement of the hoops, have not attained complete uniformity wherever the game is played. Croquet grounds are not always of full size, and some degree of elasticity in the rules is perhaps necessary to meet local conditions. The laws by which matches for the championship and all tournaments are governed are issued annually by the Croquet Association; and though from time to time trifling amendments may be made, they have probably reached permanence in essentials.

See _The Encyclopaedia of Sport; The Complete Croquet Player_ (London,
1896); the latest _Laws of Croquet_, published annually by the Croquet
Association, and its official organ _The Croquet Gazette_. For the
principles of the game and its history in England, see C. D. Locock,
_Modern Croquet Tactics_ (London, 1907); A. Lillie, _Croquet up to
Date_ (London, 1900).

_Croquet in the United States: Roque._--Croquet was brought to America from England soon after its introduction into that country, and enjoyed a wide popularity as a game for boys and girls before the Civil War (see Miss Alcott's _Little Women_, cap. 12). American croquet is quite distinct from the modern English game. It is played on a lawn 60 ft. by 30, and preserves the old-fashioned English arrangement of ten hoops, including a central "cage" of two hoops. The balls, coloured red, white, blue and black, are 3(1/4) in. in diameter, and the hoops are from 3(1/2) to 4 in. wide, according to the skill of the players. This game, however, is not taken seriously in the United States; the _Official Croquet Guide_ of Mr Charles Jacobus emphasizes "the ease with which the game can be established," since almost every country home has a grass plot, and "no elaboration is needed." The scientific game of croquet in the United States is known as "roque." Under this title a still greater departure from the English game has been elaborated on quite independent lines from those of the English Croquet Association since 1882, in which year the National Roque Association was formed. Roque also suffered from the popularity of lawn tennis, but since 1897 it has developed almost as fast as croquet in England. A great national championship tournament is held in Norwich, Conn., every August, and the game--which is fully as scientific as modern English croquet--has numerous devotees, especially in New England.

Roque is played, not on grass, but on a prepared surface something like a cinder tennis-court. The standard ground, as adopted by the National Association in 1903, is hexagonal in shape, with ten arches (hoops) and two stakes (pegs) as shown in diagram 2. The length is 60 ft., width 30, and the "corner pieces" are 6 ft. long. An essential feature of the ground is that it is surrounded by a raised wooden border, often lined with india-rubber to facilitate the rebound of the ball, and it is permissible to play a "carom" (or rebounding shot) off this border; a skilful player can often thus hit a ball which is wired to a direct shot. A boundary line is marked 28 in. inside the border, on which a ball coming to rest outside it must be replaced. The hoops are run in the order marked on the diagram, so that the game consists of 36 points. Red and white are always partners against blue and black, and the essential features and tactics of the game are, _mutatis mutandis_, the same as in modern English croquet--i.e. the skilful player goes always for a break and utilizes one or both of the opponent's balls in making it. The balls are 3(1/4) in. in diameter, of hard rubber or composition, and the arches are 3-3/8 or 3(1/2) in. wide for first- and second-class players respectively; they are made of steel 1/2 in. in diameter and stand about 8 in. out of the ground. The stakes are 1 in. in diameter and only 1(1/2) in. above the ground. The mallets are much shorter than those commonly employed in England, the majority of players using only one hand, though the two-handed "pendulum stroke," played between the legs, finds an increasingly large number of adherents, on account of the greater accuracy which it gives. The "jump shot" is a necessary part of the player's equipment, as dead wiring is allowed; it is supplemented by the carom off the border or off a stake or arch, and roque players justly claim that their game is more like billiards than any other out-of-door game.

The game of roque is opened by scoring (stringing) for lead from an imaginary line through the middle wicket (cage), the player whose ball rests nearest the southern boundary line having the choice of lead and balls. The balls are then placed on the four corner spots marked A in diagram, partner balls being diagonally opposite one another, and the starting ball having the choice of either of the upper corners. The leader, say red, usually begins by shooting at white; if he misses, a carom off the border will leave him somewhere near his partner, blue. White then shoots at red or blue, with probably a similar result. Blue is then "in," with a certain roquet and the choice of laying for red or going for an immediate break himself. The general strategy of the game corresponds to that of croquet, the most important differences being that "pegging out" is not allowed, and that on the small ground with its ten arches and two stakes the three-ball break is usually adopted, the next player or "danger ball" being wired at the earliest opportunity.

See Spalding's _Official Roque Guide_, edited by Mr Charles Jacobus
(New York, 1906).

FOOTNOTES:

[1] This was largely the work of W. T. Whitmore-Jones (1831-1872),
generally known as W. Jones Whitmore, who subsequently formed the
short-lived National Croquet Club, and was largely responsible for
the first codification of the laws.

[2] The words "roquet" and "croquet" are pronounced as in French,
with the t mute.

CRORE (Hindustani _karor_), an Anglo-Indian term for a hundred _lakhs_ or ten million. It is in common use for statistics of trade and especially coinage. In the days when the rupee was worth its face value of 2s., a crore of rupees was exactly worth a million sterling, but now that the rupee is fixed at 15 to the L1, a crore is only worth L666,666.

CROSBY, HOWARD (1826-1891), American preacher and teacher, great-grandson of Judge Joseph Crosby of Massachusetts and of Gen. William Floyd of New York, a signer of the Declaration of Independence, was born in New York City on the 27th of February 1826. He graduated in 1844 from the University of the City of New York (now New York University); became professor of Greek there in 1851, and in 1859 became professor of Greek in Rutgers College, New Brunswick, New Jersey, where two years later he was ordained pastor of the first Presbyterian church. From 1870 to 1881 he was chancellor of the University of the City of New York; from 1872 to 1881 was one of the American revisers of the English version of the New Testament; and in 1873 was moderator of the general assembly of the Presbyterian Church. He took a prominent part in politics, urged excise reform, opposed "total abstinence," was one of the founders and was the first president of the New York Society for the Prevention of Crime, and pleaded for better management of Indian affairs and for international copyright. Among his publications are _The Lands of the Moslem_ (1851), _Bible Companion_ (1870), _Jesus: His Life and Works_ (1871), _True Temperance Reform_ (1879), _True Humanity of Christ_ (1880), and commentaries on the book of Joshua (1875), Nehemiah (1877) and the New Testament (1885).

His son, ERNEST HOWARD CROSBY (1856-1907), was a social reformer, and was born in New York City on the 4th of November 1856. He graduated at the University of the City of New York in 1876 and at Columbia Law School in 1878; served in the New York Assembly in 1887-1889, securing the passage of a high-licence bill; in 1889-1894 was a judge of the Mixed Tribunal at Alexandria, Egypt, resigning upon coming under the influence of Tolstoy; and died in New York City on the 3rd of January 1907. He was the first president (1894) of the Social Reform Club of New York City, and was president in 1900-1905 of the New York Anti-Imperialist League; was a leader in settlement work and in opposition to child labour, and was a disciple of Tolstoy as to universal peace and non-resistance, and of Henry George in his belief in the "single tax" principle. His writings, many of which are in the manner of Walt Whitman, comprise _Plain Talk in Psalm and Parable_ (1899), _Swords and Ploughshares_ (1902), and _Broadcast_ (1905), all in verse; an anti-military novel, _Captain Jinks, Hero_ (1902); and essays on Tolstoy (1904 and 1905) and on Garrison (1905).

CROSS, and CRUCIFIXION (Lat. _crux_, _crucis_[1]). The meaning ordinarily attached to the word "cross" is that of a figure composed of two or more lines which intersect, or touch each other transversely. Thus, two pieces of wood, or other material, so placed in juxtaposition to one another, are understood to form a cross. It should be noted, however, that Lipsius and other writers speak of the single upright stake to which criminals were bound as a cross, and to such a stake the name of _crux simplex_ has been applied. The usual conception, however, of a cross is that of a compound figure.

Punishment by crucifixion was widely employed in ancient times. It is known to have been used by nations such as those of Assyria, Egypt, Persia, by the Greeks, Carthaginians, Macedonians, and from very early times by the Romans. It has been thought, too, that crucifixion was also used by the Jews themselves, and that there is an allusion to it (Deut. xxi. 22, 23) as a punishment to be inflicted.

Two methods were followed in the infliction of the punishment of crucifixion. In both of these the criminal was first of all usually stripped naked, and bound to an upright stake, where he was so cruelly scourged with an implement, formed of strips of leather having pieces of iron, or some other hard material, at their ends, that not merely was the flesh often stripped from the bones, but even the entrails partly protruded, and the anatomy of the body was disclosed. In this pitiable state he was reclothed, and, if able to do so, was made to drag the stake to the place of execution, where he was either fastened to it, or impaled upon it, and left to die. In this method, where a single stake was employed, we have the _crux simplex_ of Lipsius. The other method is that with which we are more familiar, and which is described in the New Testament account of the crucifixion of Jesus Christ. In such a case, after the scourging at the stake, the criminal was made to carry a gibbet, formed of two transverse bars of wood, to the place of execution, and he was then fastened to it by iron nails driven through the outstretched arms and through the ankles. Sometimes this was done as the cross lay on the ground, and it was then lifted into position. In other cases the criminal was made to ascend by a ladder, and was then fastened to the cross. Probably the feebleness, or state of collapse, from which the criminal must often have suffered, had much to do in deciding this. It is not quite clear which of these two plans was followed in the case of the crucifixion of Christ, but the more general opinion has been that He was nailed to the cross on the ground, and that it was then lifted into position. The contrary opinion, has, however, prevailed to some extent, and there are representations of the crucifixion which depict Him as mounting a ladder placed against the cross. Such representations may, however, have been due to a pious desire, on the part of their authors, to emphasize the voluntary offering of Himself as the Saviour of the World, rather than as being intended for actual pictures of the scene itself. It may be noted, however, that among the "Emblems of the Passion," as they are called, and which were very favourite devices in the middle ages, the ladder is not infrequently found in conjunction with the crown of thorns, nails, spear, &c.

From its simplicity of form, the cross has been used both as a religious symbol and as an ornament, from the dawn of man's civilization. Various objects, dating from periods long anterior to the Christian era, have been found, marked with crosses of different designs, in almost every part of the old world. India, Syria, Persia and Egypt have all yielded numberless examples, while numerous instances, dating from the later Stone Age to Christian times, have been found in nearly every part of Europe. The use of the cross as a religious symbol in pre-Christian times, and among non-Christian peoples, may probably be regarded as almost universal, and in very many cases it was connected with some form of nature worship. Two of the forms of the pre-Christian cross which are perhaps most frequently met with are the tau cross, so named from its resemblance to the Greek capital letter [Tau], and the _svastika_ or _fylfot_[2] [svastika], also called "_Gammadion_" owing to its form being that of four Greek capital letters _gamma_ [Gamma] placed together. The tau cross is a common Egyptian device, and is indeed often called the Egyptian cross. The _svastika_ has a very wide range of distribution, and is found on all kinds of objects. It was used as a religious emblem in India and China at least ten centuries before the Christian era, and is met with on Buddhist coins and inscriptions from various parts of India. A fine sepulchral urn found at Shropham in Norfolk, and now in the British Museum, has three bands of cruciform ornaments round it. The two uppermost of these are plain circles, each of which contains a plain cross; the lowest band is formed of a series of squares, in each of which is a _svastika_. In the Vatican Museum there is an Etruscan fibula of gold which is marked with the _svastika_, but it is a device of such common occurrence on objects of pre-Christian origin, that it is hardly necessary to specify individual instances. The cross, as a device in different forms, and often enclosed in a circle, is of frequent occurrence on coins and medals of pre-Christian date in France and elsewhere. Indeed, objects marked with pre-Christian crosses are to be seen in every important museum.

The death of Christ on a cross necessarily conferred a new significance on the figure, which had hitherto been associated with a conception of religion not merely non-Christian, but in its essence often directly opposed to it. The Christians of early times were wont to trace, in things around them, hidden prophetical allusions to the truth of their faith, and such a testimony they seem to have readily recognized in the use of the cross as a religious emblem by those whose employment of it betokened a belief most repugnant to their own. The adoption by them of such forms, for example, as the tau cross and the _svastika_ or _fylfot_ was no doubt influenced by the idea of the occult Christian significance which they thought they recognized in those forms, and which they could use with a special meaning among themselves, without at the same time arousing the ill-feeling or shocking the sentiment of those among whom they lived.

It was not till the time of Constantine that the cross was publicly used as the symbol of the Christian religion. Till then its employment had been restricted, and private among the Christians themselves. Under Constantine it became the acknowledged symbol of Christianity, in the same way in which, long afterwards, the crescent was adopted as the symbol of the Mahommedan religion. Constantine's action was no doubt influenced by the vision which he believed he saw of the cross in the sky with the accompanying words [Greek: en touto nika], as well as by the story of the discovery of the true cross by his mother St Helena in the year 326. The legend is that, when visiting the holy places in Palestine, St Helena was guided to the site of the crucifixion by an aged Jew who had inherited traditional knowledge as to its position. After the ground had been dug to a considerable depth, three crosses were found, as well as the superscription placed over the Saviour's head on the cross, and the nails with which he had been crucified. The cross of the Lord was distinguished from the other two by the working of a miracle on a crippled woman who was stretched upon it. This finding, or "invention," of the holy cross by St Helena is commemorated by a festival on the 3rd of May, called the "Invention of the Holy Cross." The legend was widely accepted as true, and is related by writers such as St Ambrose, Rufinus, Sulpicius Severus and others, but it is discounted by the existence of an older legend, according to which the true cross was found in the reign of Tiberius, and while St James the Great was bishop of Jerusalem, by Protonice, the wife of Claudius.

In recent times an attempt has been made to reconcile the two accounts, by attributing to St Helena the rediscovery of the true cross, originally found by Protonice, and which had been buried again on the spot. A change was made in 1895 in the _Diario Romano_, when the word _Ritrovamento_ was substituted for that of _Invenzione_, in the name of the festival of the 3rd of May. After St Helena's discovery a church was built upon the site, and in it she placed the greater portion of the cross. The remaining portion she conveyed to Byzantium, and thence Constantine sent a piece to Rome, where it is said to be still preserved in the church of S. Croce in Gerusalemme, which was built to receive so precious a relic. It is exposed for the veneration of the faithful on Good Friday, 3rd of May, and the third Sunday in Lent, each year.

Another festival of the holy cross is kept on the 14th of September, and is known as the "Exaltation of the Holy Cross." It seems to have originated with the dedication, in the year 335, of the churches built on the sites of the crucifixion and the holy sepulchre. The observance of this festival passed from Jerusalem to Constantinople, and thence to Rome, where it appears to have been introduced in the 7th century. By some it is thought that the feast of the Exaltation of the Cross had its origin in Constantine's vision of the cross in the sky in the year 317, but whether it originated then, or, as is more generally supposed, at the dedication of the churches at Jerusalem, there is no doubt that it was afterwards kept with much greater solemnity in consequence of the recovery of the portion of the cross St Helena had left at Jerusalem, which had been taken away in the Persian victory, and was restored to Jerusalem by Heraclitus in 627. Pope Clement VIII. (1592-1604) raised the festival of the Exaltation of the Holy Cross to the dignity, liturgically known as that of a Greater Double.

Before leaving the story of St Helena and the cross, it may be convenient to allude briefly to the superscription placed over the Saviour's head, and the nails, which it is said that she found with the cross. The earlier tradition as to the superscription is obscure, but it would seem that it ought to be considered part of the relic which Constantine sent to Rome. By some means it was entirely lost sight of until the year 1492, when it is said that it was accidentally found in a vault in the church of S. Croce in Gerusalemme at Rome. Pope Alexander III. published a bull certifying to the truth of this rediscovery of the relic, and authenticated its character.

As regards the nails, a question has arisen whether there were three or four. In the earliest pictures of the Crucifixion the feet are shown as separately nailed to the cross, but at a later period they are crossed, and a single nail fixes them. In the former case there would be four nails, and in the latter only three. Four is the number generally accepted, and it is said that one was cast by St Helena into the sea, during a storm, in order to subdue the waves, another is said (but the legend cannot be traced far back) to have been beaten out into the iron circlet of the crown of Lombardy, while the remaining two are reputed to be preserved among the relics at Milan and Trier respectively.

The employment of the cross as the Christian symbol has been so manifold in its variety and application, and the different forms to which the figure has been adapted and elaborated are so complex, that it is only possible to deal with the outline of the subject.

We learn from Tertullian and other early Christian writers of the constant use which the Christians of those days made of the sign of the cross. Tertullian (_De Cor. Mil._ cap. iii.) says: "At each journey and progress, at each coming in and going out, at the putting on of shoes, at the bath, at meals, at the kindling of lights, at bedtime, at sitting down, whatsoever occupation engages us, we mark the brow with the sign of the cross." With so frequent an employment of the sign of the cross in their domestic life, it would be strange if we did not find that it was very frequently used in the public worship of the church. The earliest liturgical forms are comparatively late, and are without rubrics, but the allusions by different writers in early times to the ceremonial use of the sign of the cross in the public services are so numerous, and so much importance was attached to it, that we are left in no manner of doubt on the point. St Augustine, indeed, speaks of the sacraments as not duly ministered if the use of the sign of the cross were absent from their ministration (_Hom. cxviii. in S. Joan._). Of the later liturgical use of the sign of the cross there is little need to speak, as a reference to the service books of the Greek and Latin churches will plainly indicate the frequency of, and the importance attached to, its employment. Its occasional use is retained by the Lutherans, and in the Church of England it is authoritatively used at baptism, and at the "sacring" or anointing of the sovereign at the coronation.

Passing from the sign to the material figures of the cross, a very usual classification distinguishes three main forms: (1) the _crux immissa_, or _capitata_ [Latin cross] (fig. 3) known also as the Latin cross, or if each limb is of the same length, + (fig. 4) as the Greek cross; (2) the _crux decussata_, formed like the letter X, and (3) the _crux commissa_ or tau cross, already mentioned. It was on a crux immissa that Christ is believed to have been crucified. The _crux decussata_ is known as St Andrew's cross, from the tradition that St Andrew was put to death on a cross of that form. The _crux commissa_ is often called St Anthony's cross, probably only because it resembles the crutch with which the great hermit is generally depicted.

The cross in one form or other appears, appropriately, on the flags and ensigns of many Christian countries. The English cross of St George is a plain red cross on a white ground, the Scottish cross of St Andrew is a plain diagonal white cross on a blue ground, and the Irish cross of St Patrick is a plain diagonal red cross on a white ground. These three crosses are combined in the Union Jack (see FLAG).

The cross has also been adopted by many orders of knighthood. Perhaps the best known of these is the cross of the knights of Malta. It is a white cross of eight points on a black ground (fig. 5) and is the proper Maltese cross, a name which is often wrongly applied to the cross _patee_ (fig. 6). The knights of the Garter use the cross of St George, as do those of the order of St Michael and St George, the knights of the Thistle use St Andrew's cross, and those of St Patrick the cross of St Patrick charged with a shamrock leaf. The cross of the Danish order of the Dannebrog (fig. 7) affords a good example of this use of the cross. It is in form a white cross patee, superimposed upon a red one of the same form, and is surmounted by the royal cipher and crown, and has upon its surface the royal cipher repeated, and the legend, or motto, "_Gud og Kongen_" = "God and the King." (For crosses of monastic orders see COSTUME.)

Akin to the crosses of knightly orders are those which figure as charges on coats of arms. The science of heraldry evolved a wonderful variety of cross-forms during the period it held sway in the middle ages. The different forms of cross used in heraldry are, in fact, so numerous that it is only the larger works on that subject which attempt to record them all. For such crosses see HERALDRY.

In the middle ages the cross form, in one way or another, was predominant everywhere, and was introduced whenever opportunity offered itself for doing so. The larger churches were planned on its outline, so that the ridge line of their roofs proclaimed it far and wide. This was more particularly followed in the north of Europe, but when it was first introduced is not quite certain. All the ancient cathedral churches of England and Wales are cruciform in plan, except Llandaff.

The artistic skill and ingenuity of the medieval designer has produced cross designs of endless variety, and of singular elegance and beauty. Some of the most beautiful of these designs are the gable crosses of the old churches. Fig. 8 shows the west gable cross of Washburn church, Worcestershire; fig. 9 that of the nave of Castle Acre church, Norfolk; and fig. 10 the east gable cross of Hethersett church in that county. They may be taken as good examples of a type of cross which is often of great beauty, but it is overlooked, owing to its bad position for observation.

Other architectural crosses, of great beauty of design, are those which occur on the grave slabs of the middle ages. Instances of a plainer type occur in Saxon times, but it was not till after the 11th century that they were fashioned after the intricate and beautiful designs with which our ancient churches are, as a rule, so plentifully supplied. Sometimes these crosses are incised in the slab, and almost as often they are executed in low relief. The long shaft of the cross is most commonly plain, but there are a very large number of instances in which this is not so, and in which branches, with leaf designs, are thrown out at intervals the entire length of the shaft. In some cases the shaft rises from a series of steps at its base, and in such a case the name of a Calvary cross is applied to it. Fig. 11, from Stradsett church, Norfolk, and fig. 12 from Bosbury church, Herefordshire, are good examples of the designs at the head of sepulchral crosses. Often, by the side of the cross, an emblem or symbol is placed, denoting the calling in life of the person commemorated. Thus a sword is placed to indicate a knight or soldier, a chalice for a priest, and so forth; but it would be travelling beyond the scope of this article to enter into a discussion as to such symbols.

Of upright standing crosses, the Irish and Iona types are well known, and their great artistic beauty and elaboration and excellence of sculpture are universally recognized. These crosses are sometimes spoken of as "Runic Crosses"; and the interlacing knotwork design with which many of them are ornamented is also at times spoken of as "Runic." This is an erroneous application of the word, and has arisen from the fact that some of these crosses bear inscriptions in Runic characters. Standing crosses, of different kinds, were commonly set up in every suitable place during the middle ages, as the mutilated bases and shafts still remaining readily testify. Such crosses were erected in the centre of the market place, in the churchyard, on the village green, or as boundary stones, or marks to guide the traveller. Some, like the Black Friars cross at Hereford, were preaching stations, others, like the beautiful Eleanor crosses at Northampton, Geddington and Waltham, were commemorative in character. Of these latter crosses, which marked the places where the funeral procession of Queen Eleanor halted, there were originally ten or more, erected between 1241 and 1294. They were placed at Lincoln, Northampton, Stony Stratford, Woburn, Dunstable, St Albans, Waltham and London (Cheapside and Charing Cross). The cross at Geddington differs in outline from those at Northampton and Waltham, and it is not recorded on the roll of accounts for the nine others, all of which are mentioned, but there is no real doubt that it commemorates the resting of the coffin of the queen in Geddington church on its way from Harby. These crosses, like the Black Friars cross at Hereford, are elaborate architectural erections, and very similar to them in this respect are the beautiful market crosses at Winchester, Chichester, Salisbury, Devizes, Shepton Mallet, Leighton Buzzard, &c. Of churchyard crosses, as distinguished from memorial crosses in churchyards, one only is believed to have escaped in a perfect condition the ravages of time, and the fanaticism of the past. It stands in the churchyard of Somerby, in Lincolnshire (Tennyson's birthplace), and is a tall shaft surmounted by a pedimented tabernacle, on one side of which is the crucifixion, and on the other the figure of the Virgin and Child. Churchyard crosses may have been used as occasional preaching stations, for reading the Gospel in the Palm Sunday procession, and generally for public proclamations, made usually at the conclusion of the chief Sunday morning service, much in the same way that market crosses were used on market days as places for proclamations in the towns.

Of the ecclesiastical use of the sign of the cross mention has already been made, and it is desirable to mention briefly one or two instances of the ecclesiastical use of the cross itself. From a fairly early period it has been the prerogative of an archbishop or metropolitan, to have a cross borne before him within the limits of his province. The question urged between the archbishops of Canterbury and York about the carrying of their crosses before them, in each other's province, was a fruitful source of controversy in the middle ages. The archiepiscopal cross must not be confused with the crozier or pastoral staff. The latter, which is formed with a crook at the end, is quite distinct, and is used by archbishops and bishops alike, who bear it with the left hand in processions, and when blessing the people. The archiepiscopal cross, on the contrary, is always borne before the archbishop, or during the vacancy of the archiepiscopal see before the guardian of the spiritualities _sede vacante_. The bishop of Dol in Brittany, of ordinary diocesan bishops, alone possessed the privilege of having a cross borne before him in his diocese. Good illustrations of the archiepiscopal cross occur on the monumental brasses of Archbishop Waldeby, of York (1397), at Westminster Abbey, and of Archbishop Cranley, of Dublin (1417) in New College chapel, Oxford.

The custom of carrying a cross at the head of an ecclesiastical procession can be traced back to the end of the 4th century. The cross was originally taken from the altar, and raised on a pole, and so borne before the procession. Afterwards a separate cross was provided for processions, but in poor churches, where this was not the case, the altar cross continued to be used till quite a late period. A direction to this effect occurs as late as 1829, in the _Rituel_ published for the diocese of La Rochelle in that year. In England altar crosses were not very usual in the middle ages.

As a personal ornament the cross came into common use, and was usually worn suspended by a chain from the neck. A cross of this kind, of very great interest and beauty, was found about 1690, on the breast of Queen Dagmar, the wife of Waldemar II., king of Denmark (d. 1213). It is of Byzantine design and workmanship, and is of enamelled gold (fig. 13 shows both sides of it); on one side is the Crucifixion, and on the other side the half figure of our Lord in the centre, with the Virgin and St John the Evangelist on either side, and St Chrysostom and St Basil above and below. From the way in which such crosses were worn, hanging over the chest, they are called pectoral crosses. At the present day a pectoral cross forms part of the recognized insignia of a Roman Catholic bishop, and is worn by him over his robes, but this official use of the pectoral cross is not ancient, and no instance is known of it in England before the Reformation. The custom appears to have taken rise in the 16th century on the continent. It was not unusual to wear cruciform reliquaries, as objects of personal adornment, and such a reliquary was found on the body of St Cuthbert, when his tomb was opened in 1827, but it was placed under, and not over his episcopal vestments, and formed no part of his bishop's attire. The custom of wearing a pectoral cross over ecclesiastical robes has, curiously enough, been copied from the comparatively modern Roman Catholic usage by the Lutheran bishops and superintendents in Scandinavia and Prussia; and in Sweden the cross is now delivered to the new bishop, on his installation in office, by the archbishop of Upsala, together with the mitre and crozier. Within the last generation the use of a pectoral cross, worn over their robes as part of the insignia of the episcopal office, has been adopted by some bishops of the Church of England, but it has no ancient sanction or authority.

AUTHORITIES.--Mortillet, _Le Signe de la croix avant le Christianisme_
(Paris, 1866); Bingham, _Antiquities of the Christian Church_;
Lipsius, _De Cruce Christi_; Lady Eastlake, _History of our Lord_,
vol. ii.; Cutts, _Manual of Sepulchral Slabs and Crosses_; (Anon.)
_Handbook to Christian and Ecclesiastical Rome_, part ii. (London,
1897); Veldeuer, _History of the Holy Cross_ (reprint, 1863).
(T. M. F.)

FOOTNOTES:

[1] Derivatives of the Latin _crux_ appear in many forms in European
languages, cf. Ger. _Kreuz_, Fr. _croix_, It. _croce_, &c.; the
English form seems Norse in origin (O.N. _Krosse_, mod. _Kors_). The
O.E. name was _rod_, rood (q.v.).

[2] The acceptance of this word as the English equivalent for this
peculiar form of the cross rests only, according to the _New English
Dictionary_, on a MS. of about 1500 in the Lansdowne collection,
which gives details for the erection of a memorial stained-glass
window, "... the fylfot in the nedermost pane under ther I knele
..."; in the sketch given with the instructions a cross occupies the
space indicated. It is a question, therefore, whether "fylfot" is a
name for any device suitable to "fill the foot" of any design, or the
name peculiar to this particular form of cross. The word is not, as
was formerly accepted, a corruption of the O. Eng. _feowerfete_,
four-footed.