Page:The New International Encyclopædia 1st ed. v. 05.djvu/721

CBUGER. 625 CRUISER. CRUGER, krv'ger, Johannes ( 15USlti02) . A Geiniau t-lioral composer and musical author. He was born at Grossbrescn, Province of lirau- denburj;, and was educated at the Jesuit College in Olmiitz, luider Hamburger at Katisbon, and at the University of itlenbcrg. lie was cantor of the NiUolaikirche, Berlin, from l(i22 until his death. As a composer of Lutheran cho- lals, he has never been e.Kcelled, and many of his melodies, such as A'loi duiikct allc Gull : Jfsus, mcine Zurcrsicht ; Schmiickc divit, o licOc tieelc, have survived to the present day. His sacred compositions were published under the title Praxis J'ietatis Melica, oder Kirchen-Melodien iiher Luthers und Anderer Gesange, for four voices and two instruments (30th ed. 1703). CRTJGER, krixi'ger, Jii.i.^ Grinnell Stor- Kow (e.l850 — ). An American author, known by the pen-name 'Julien Gordon,' whose pub- lished works include the novels A Diploinnt's Diary (1800) ; .1 Puriliin Ptifjan (1891) ; A Huv cessful Man (1892); Poppa-a (1894); and Eat Xot Thy Heart (1897). CRTJIKSHANK, kruk'sh.-ink. George (1792- 187S!. An Knglish caricaturist. He was born in London, September 27, 1792, the younger son of Isaac Cruikshank, himself a caricaturist. His early wish to follow the sea was opposed by his mother, who desired that his father should in- struct him in art; but his father refused, and George failed to secure entrance into the Royal Academy schools. The idea of adopting art as a profession was for the time abandoned. Sub- sequently, at the death of his father, having his mother to maintain as well as himself, he turned to drawing. His apprentice work as caricaturist appeared in the monthly periodicals called, re- spectively. Tile Heovrr/e and Tiie ilelcor: and about the same jjeriod he made the sketches re- ferring to the trial of Queen Caroline. Indeed, a great deal of his work, which at that time reflected the political situations of the day, may be looked upon now as being fairly historical in its bearing. As early as 1823 he began the illustra- tions for Grimm's Fairy Tales. In 183,5 he pub- lished the first number of the famous Comic Al- manac, which flourished under various manage- ments until 1853. In 1847 he made a series of wood-cuts on "The Bottle." and his "Sunday in London," "The Gin Trap," and "The Gin Jugger- naut," published at this time, had a wide circula- tion. It is said that the unfortunate life of a personal friend influenced him to exercise his gifts in a crusade against intemperance. A strong moral was enforced in these drawings. His best-known illustrations were those made for Dickens's Olirer Twist and the Sketciies hy Bo::, those for the 'averley novels, and for the Memoirs of Grimaldi. In 1833 he designed and etched fifteen plates for illustration of Don Qnix- ote. In later years he essayed to paint, and, though he had little skill in manipulating pig- ments, his ofTorts in that direction show his keen insight into human nature and his unique genius in portraying the grntesquely lunnorous. His "Cinderella." painted in 18.54. is in (he South Kensington Musemn. In 1862 be painted for the National Temperance League "The Worship of Bacchus." which is now in the National Gal- lery. Rossetti wrote, in reference to this picture, that "the man who in his old age occupies himself for nearly three years in painting this homily ujicin canvas, to the most negative results in point of art, deserves respect." George Cruik- shank died in London, February 1, 1878, and was buried in St. Paul's Cathedral. Consult: Stephens, .1 Memoir of Veurye Cruikahank ( Lon- don, 1891): Bates, George Vriiiksliunk ( Lomlun, 1878) ; Jerrohl, Life of George Cruikshank (Lon- don, 1883). CRUIKSHANK, I.s.ac (c.l7.5U-c.l811 ) . An Knglish caricaturist and water-color painter. His father was an artist, and young Cruikshank, early left an orphan, followed liis profession as an illustrator, water-color painter, and |)(ditical caricaturist. He settled in London, and married Miss Mary ilacnaugliten ; excepting this, very little is known of his career. Two of his water- colors, "A Child Lost" and "A Child Found," are in the South Kensington JIuseuin. His po- litical drawings were as well known as those of Gillray. His other designs inchidc. "The Rage; or, 'Shepherds, I Have Lost niy Waist,' " a skit on the exaggerated fasliions of the times. His oldest son, IsA.c Robert (1789-185GI, born in London, was a miniature painter and caricatur- ist. He satirized the iiolitical and social customs of the time, but after 1825 seems to have taken more to illustrating. His most popular work was done for Life in London (1821), in collab- oration with his brother George, the text being suiiplied by Pierce Egan. It was dramatized and achieved a notable success. Another work of Cruikshank's was seventy-one illustrations for Charles Molloy Westmacott's Enytisli Spy (1825); and illustrations for Crithannah's Original Fables (1834) ; Colburn's Kalrndar of Amusements (1840) ; and TIte Orphan, a transla- tion of Eug6ne Sue's Mathilde. While neither as gifted nor as imaginative as his celebrated brother George, Robert Cruikshank was a good draughtsman and a clever artist. CRUIKSHANK, William Cumberland (1745-1800). A Scottish anatomist, author of a number of medical works, the most valuable of which is one on liisensil)lc Perspiration, showing that carbonic acid is constantly given off by the skin. His work further includes The .{natomy of the Absorbing Vessels of the Human Bodi/ (1786). CRUISER (from cruise, from Dutch kruisen, to cruise, to cross, from kruis, OHG. criici, Ger. Kreuse, AS. cruc, Engl, cross, from Lat. crux, cross). A war-vessel built for cruising. The principal features of a cruiser are: (1) Sea- worthiness; (2) ability to keep at sea for long periods (this requires large capacity for coal and stores, and habitability) : (3) speed: (4) offensive and defensive powers. Cruisers are of many kinds, but they may be divided into three general classes — armored cruisers, protected cruis- ers, and unprotected cruisers. The dividing line between the classes is not very distinct, as some cruisers partake of the character of two classes. Armored cruisers carry armor for the protection of the ship, or battery, which is applied verti- cally, or nearly ^. Protected cruisers have no vertical armor, but the vitals are protected by a thick steel deck, which is nearly horizontal, placed about the level of the surface of the water, but having the edges of the deck near the ship's sides inclined downward, so as to meet (he side several fee( below water. This part of the deck (the slope) is thicker than the middle part,