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 the same freedom as before, and the handwriting is more or less altered in consequence. At an early stage of the disease the difficulty may be to a large extent overcome by persevering efforts, but ultimately, when the attempt is persisted in, the muscles of the fingers, and occasionally also those of the forearm, are seized with spasm or cramp, so that the act of writing is rendered impossible. Sometimes the fingers, instead of being cramped, move in a disorderly manner and the pen cannot be grasped, while in other rare instances a kind of paralysis affects the muscles of the fingers, and they are powerless to make the movements necessary for holding the pen. It is to be noted that it is only in the act of writing that these phenomena present themselves, and that for all other movements the fingers and arms possess their natural power. The same symptoms are observed and the same remarks apply mutatis mutandis in the case of musicians, artists, compositors, seamstresses, tailors and many mechanics in whom this affection may occur. Indeed, although actually a rare disease, no muscle or group of muscles in the body which is specially called into action in any particular occupation is exempt from liability to this functional spasm.

The exact pathology of writer’s cramp has not been worked out, but it is now generally accepted that the disease is not a local one of muscles or nerves, but that it is an affection of the central nervous system. The complaint never occurs under thirty years of age, and is more frequent in males than females. Occasionally there is an inherited tendency to the disease, but more usually there is a history of alcoholism in the parents, or some neuropathic heredity. In its treatment the first requisite is absolute cessation from the employment which caused it. Usually, however, complete rest of the arm is undesirable, and recovery takes place more speedily if other actions of a different kind are regularly practised. If a return to the same work is a necessity, then Sir W. R. Gowers insists on some modification of method in performing the act, as writing from the shoulder instead of the wrist.

CRAMP-RINGS, rings anciently worn as a cure for cramp and “falling-sickness” or epilepsy. The legend is that the first one was presented to Edward the Confessor by a pilgrim on his return from Jerusalem, its miraculous properties being explained to the king. At his death it passed into the keeping of the abbot of Westminster, by whom it was used medically and was known as St Edward’s Ring. From that time the belief grew that the successors of Edward inherited his powers, and that the rings blessed by them worked cures. Hence arose the custom for the successive sovereigns of England each year on Good Friday formally to bless a number of cramp-rings. A service was held; prayers and psalms were said; and water “in the name of the Father, Son and Holy Ghost” was poured over the rings, which were always of gold or silver, and made from the metal that the king offered to the Cross on Good Friday. The ceremony survived to the reign of Queen Mary, but the belief in the curative powers of similar circlets of sacred metal has lingered on even to the present day.

 CRANACH, LUCAS (1472–1553), German painter, was born at Cronach in upper Franconia, and learnt the art of drawing from his father. It has not been possible to trace his descent or the name of his parents. We are not informed as to the school in which he was taught, and it is a mere guess that he took lessons from the south German masters to whom Mathew Grunewald owed his education. But Grunewald practised at Bamberg and Aschaffenburg, and Bamberg is the capital of the diocese in which Cronach lies. According to Gunderam, the tutor of Cranach’s children, Cranach signalized his talents as a painter before the close of the 15th century. He then drew upon himself the attention of the elector of Saxony, who attached him to his person in 1504. The records of Wittenberg confirm Gunderam’s statement to this extent that Cranach’s name appears for the first time in the public accounts on the 24th of June 1504, when he drew 50 gulden for the salary of half a year, as pictor ducalis. The only clue to Cranach’s settlement previous to his Wittenberg appointment is afforded by the knowledge that he owned a house at Gotha, and that Barbara Brengbier, his wife, was the daughter of a burgher of that city.

Of his skill as an artist we have sufficient evidence in a picture dated 1504. But as to the development of his manner prior to that date we are altogether in ignorance. In contrast with this obscurity is the light thrown upon Cranach after 1504. We find him active in several branches of his profession,—sometimes a mere house-painter, more frequently producing portraits and altar-pieces, a designer on wood, an engraver of copper-plates, and draughtsman for the dies of the electoral mint. Early in the days of his official employment he startled his master’s courtiers by the realism with which he painted still life, game and antlers on the walls of the country palaces at Coburg and Lochau; his pictures of deer and wild boar were considered striking, and the duke fostered his passion for this form of art by taking him out to the hunting field, where he sketched “his grace” running the stag, or Duke John sticking a boar. Before 1508 he had painted several altar-pieces for the Schlosskirche at Wittenberg in competition with Dürer, Burgkmair and others; the duke and his brother John were portrayed in various attitudes and a number of the best woodcuts and copper-plates were published. Great honour accrued to Cranach when he went in 1509 to the Netherlands, and took sittings from the emperor Maximilian and the boy who afterwards became Charles V. Till 1508 Cranach signed his works with the initials of his name. In that year the elector gave him the winged snake as a motto, and this motto or Kleinod, as it was called, superseded the initials on all his pictures after that date. Somewhat later the duke conferred on him the monopoly of the sale of medicines at Wittenberg, and a printer’s patent with exclusive privileges as to copyright in Bibles. The presses of Cranach were used by Luther. His chemist’s shop was open for centuries, and only perished by fire in 1871. Relations of friendship united the painter with the Reformers at a very early period; yet it is difficult to fix the time of his first acquaintance with Luther. The oldest notice of Cranach in the Reformer’s correspondence dates from 1520. In a letter written from Worms in 1521, Luther calls him his gossip, warmly alluding to his “Gevatterin,” the artist’s wife. His first engraved portrait by Cranach represents an Augustinian friar, and is dated 1520. Five years later the friar dropped the cowl, and Cranach was present as “one of the council” at the betrothal festival of Luther and Catherine Bora. The death at short intervals of the electors Frederick and John (1525 and 1532) brought no change in the prosperous situation of the painter; he remained a favourite with John Frederick I., under whose administration he twice (1537 and 1540) filled the office of burgomaster of Wittenberg. But 1547 witnessed a remarkable change in these relations. John Frederick was taken prisoner at the battle of Mühlberg, and Wittenberg was subjected to stress of siege. As Cranach wrote from his house at the corner of the market-place to the grand-master Albert of Brandenburg at Königsberg to tell him of John Frederick’s capture, he showed his attachment by saying, “I cannot conceal from your Grace that we have been robbed of our dear prince, who from his youth upwards has been a true prince to us, but God will help him out of prison, for the Kaiser is bold enough to revive the Papacy, which God will certainly not allow.” During the siege Charles bethought him of Cranach, whom he remembered from his childhood and summoned him to his camp at Pistritz. Cranach came, reminded his majesty of his early sittings as a boy, and begged on his knees for kind treatment to the elector. Three years afterwards, when all the dignitaries of the Empire met at Augsburg to receive commands from the emperor, and when Titian at Charles’s bidding came to take the likeness of Philip of Spain, John Frederick asked Cranach to visit the Swabian capital; and here for a few months he was numbered amongst the household of the captive elector, whom he afterwards accompanied home in 1552. He died on the 16th of October 1553 at Weimar, where the house in which he lived still stands in the market-place.

The oldest extant picture of Cranach, the “Rest of the Virgin