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office of Premier, and held it till the defeat of the Italians in Abyssinia in 1896, when he was again succeeded by Rudini (q.v.). In March, 1898, he resigned his seat in the Lower Chamber as a result of the charges brought against him in connection with extensive swindles perpetrated on the Banca d'Italia. Save for a few articles which he published in favor of the Triple Alliance, he took no further active interest in affairs, and he died on August 11, 1901, at Naples. Crispi was the greatest statesman that southern Italy gave to the united kingdom. In his lifetime he was much misunderstood and maligned. Distrusted by the Conservatives as a Radical and Republican, he incurred the hostility of the Republicans by his famous dictum in his letter to Mazzini, March 18, 1865, "Monarchy unites us, while a republic would separate us." From that time he was a firm supporter of the monarchy, but never a friend of the Court. Consult: Stillman, Francesco Crispi, Insurgent, Exile, Revolutionist, and Statesman (London, 1899), which contains an estimate as just as a contemporary estimate of a complex character can well be.

CRISPIN. A saint and martyr of the third century, who was descended from a noble Roman family. With his brother Crispinianus, he fled during a persecution of the Christians from Rome to Gaul, where he worked as a shoemaker in Soissons, and distinguished himself by his exertions for the spread of Christianity, as well as by his works of charity. According to the legend, his benevolence was so great that he even stole leather to make shoes for the poor! From this, charities done at the expense others have been called Crispinades. In the year 287 he and his brother suffered a cruel martyr dom. Both brothers are commemorated on the 25th of October. Crispin is the universally recognized patron saint of shoemakers. Consult:

of

The Accurate History of Crispin and Crispinianus, the Royal Shoemakers (Dublin, 1816); and Saint Crispin and the Gentle Craft () (London, 1868).

CRISPIN. (1) The old name for shoemakers, applied to them from the fact that Saint (2) A convenCrispin was their patron saint. tional character in French comedy; introduced, probably, by Poirin in 1654 from Italian comedy. A witty, intriguing, impudent valet-de-chambre. CRISPIN, RIVAL DE SON MAÎTRE, krê'span', re'vål' de son ma'tr' (Fr. Crispin, his master's rival). A lively comedy by Le Sage (1707), with an exceedingly improbable plot and sparkling with wit.

CRIS PINEL/LA. A bright, witty girl, a foil to her modest sister Beatrice, in Marston's play The Dutch Courtesan.

CRISPI’NUS. A character in Ben Jonson's

comedy The Poetaster, representing an inferior poet, intended as a satire on Marston, with whom Jonson was quarreling at the time.

CRISTINOS, krê-stenoz (Sp., adherents of Christina). A political party in Spain during the regency of Queen Maria Christina, mother of Isabella II. They were opposed to the Carlists and upheld the Pragmatic Sanction of Ferdinand VII. (q.v.), by which the crown of Spain was made inheritable in the female line.

Italian harpsichord-maker, and the inventor of the hammer action used in the modern pianoforte. He was born in Padua. After manufacturing instruments in that city until about 1687 he was persuaded by Prince Ferdinand, son of the Grand Duke Cosimo III., to remove to Florence. An authentic grand pianoforte made by the inventor in 1720 is said still to be preserved in Florence. See PIANOFORTE. CRISTUS, PETRUS. A Flemish painter of the Fifteenth Century. The dates of his birth and death are unknown. His work resembles but is inferior to that of Jan van Eyck. His works include the portrait of Edward Grimstone, now in possession of the Earl of Verulam; a madonna in the Städel Institute, Frankfort-on-theMain; "Saint Eligius as a Goldsmith" in the Oppenheim collection at Cologne. Two paintings in the Metropolitan Museum, New York, "A Virgin and Child," and "The Deposition from the Cross," formerly attributed to Jan van Eyck, are now usually assigned to Cristus.

CRITES, kri'tēz. A character in Jonson's play Cynthia's Revels.

CRITIAS, krish'i-as (Lat., from Gk. Kpirías, Kritias) (?-403 B.C.). An Athenian orator and poet, the pupil both of Socrates and of Gorgias of Leontini. He was a leader in the oligarchical fall of the Four Hundred in B.C. 411, but after party at Athens, and was exiled after the downthe subjugation of Athens by the Spartans he returned, and, in B.C. 404, became head of the Committee of Thirty, known as the Thirty Tyrants. In 403 he was killed in the general revolt against their excesses. fields of oratory, tragic and elegiac poetry, and His activity was varied in the historical prose. Fragments of his elegies are in Bergk, Poeta Lyrici Græci, vol. ii. (Leipzig, 1900); of his historical work, in Müller, Fragmenta Historicorum Græcorum, vol. ii. (Paris, 1868-83).

or

CRITI

CRITIC, THE. A three-act farce by Richard Brinsley Sheridan in imitation of Buckingham's Rehearsal, produced at Covent Garden in 1779. CRITICAL ANGLE. See LIGHT. CRITICAL PHILOSOPHY, CISM. The name applied to Kant's philosophy, because it was not willing to accept all dicta that seemed to have the support of reason (see DOGMATISM), but sought to investigate the conditions of the possibility of knowledge and rejected all so-called knowledge that did not conform to these conditions. See KANT.

CRITICAL POINT. Experience shows that there is for every gas a certain temperature above which it cannot be liquefied, no matter how great the pressure exerted upon it. Thus, above 31.1° C. (87.98° F.) it is impossible to liquefy carbonic-acid gas; water cannot exist in the liquid state above 370° C. (698° F.), etc. Such temperatures are termed the critical points or critical temperatures of substances. vapor-tension of a liquid at its critical temperature is termed the critical pressure, and the specific volume of the fluid at the critical temperature and under the critical pressure is termed the critical volume.

The

The following table gives the critical temperatures and pressures for some of the more common substances (the critical pressures in terms FALI, -få-lē, BARTOLOMMEO (1655-1731). An of pounds per square inch may be obtained by

CRISTOFORI, krê-sto'fô-rē, or

CRISTO

VOL. V.-38.

multiplying the pressures given in the table to liquids, and thus break down the barrier that by 15):

Ammonia

long seemed to exist between the two states of aggregation. Consider, for example, carbonicacid gas without reference to its critical point. At a temperature, say, of 18° C. this gas follows pretty closely the law of Boyle and Mariotte, i.e. unless the pressure is too great, the volume is inversely proportional to the pressure. But when the pressure attains 60 atmospheres partial liquefaction sets in, and then the inverse propor Ramsay & Young tionality between pressure and volume is com

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Most of these figures must be regarded as correct approximately, for different investigators disagree as to their precise value. As to the critical volume, it must be remembered that when a liquid is ordinarily heated, it expands as the temperature rises, i.e. its density continually diminishes; at the same time the density of its vapor continually increases; with rising temperature, therefore, the densities of liquid and vapor tend to equalize, and finally, at the critical temperature, the densities become exactly equal. The surface of separation between liquid and vapor then disappears, and the substance assumes the form of a perfectly homogeneous fluid. The critical point of substances can be taken advantage of for passing from the gaseous to the liquid state of aggregation and conversely in a 'continuous' way, i.e. without having to deal, at any moment during the process, with a mass consisting partly of liquid, partly of vapor, and hence having two different specific volumes. Thus, remembering that the critical temperature of carbonic acid is 31.1° C. and its critical pressure 77 atmospheres, let it be required to transform continuously a given amount of the gas into liquid. To accomplish this we may first heat the gas, say, to 35° C., raise the pressure, say, to 80 atmospheres, and then, keeping the pressure unchanged, let the temperature fall, say, to 20° C.; we will then find the substance entirely liquid; for a sudden liquefaction of the entire mass will have taken place when, during the process of cooling, the temperature of 31.1 is reached; but at no moment will liquid have existed simultaneously with gas. Similarly, if it should be required to transform continuously a given amount of liquid carbonic acid into gas, we might proceed as follows: lower the temperature, say, to 20° C., raise the pressure, say, to 80 atmospheres, and then allow the temperature to rise, say, to 35° C.; we would then find the substance entirely gaseous, without, however, the mass having at any moment during the process consisted partly of liquid, partly of gas.

Continuous changes like those just described have great importance in physical chemistry, because they permit of extending the laws of gases

pletely destroyed; we might diminish the volume by causing more vapor to turn to liquid, but as long as any vapor at all remains the pressure would remain constant. If we should cause the substance to liquefy entirely, we would find that the pressure could again be raised and the volume of the liquid thus further diminished. Careful investigation would show that there is a certain definite relation between the volume of the liquid and the pressure exerted upon it, but the law expressing this relation would be seemingly different from the law of Boyle and Mariotte. It would therefore seem that the liquid and gaseous states follow entirely different laws, separated from each other by the interval during which a substance is partly liquid, partly gaseous, and during which there is no connection at all between pressure and volume. But from what we said above, it may be seen that the change from gas to liquid, as well as the converse change, can be made to take place continuously, through the critical point, and that such a continuous process involves no interval during which the dependence of volume on pressure is destroyed; for when the critical temperature is reached during the continuous process, the substance is at one instant entirely gaseous and at the very next instant entirely liquid. The specific volumes of liquid and vapor at the critical point being equal, the sudden liquefaction involves no change of volume, and hence the law governing the liquid must evidently form an immediate continuation of the law governing the gas. Consult Van der Waals, La continuité des états gazeux et liquides (translation from German by Dommer and Pomey, Paris, 1894; German translation from original Dutch, by Roth, Leipzig, 1881). See GASES, GENERAL PROPERTIES OF; HEAT.

CRITICISM (Fr. criticisme, from Lat. criticus, Gk. KρITIKós, kritikos, critic, from KρÍVELV, krinein, to judge). Criticism, as the art of judg ment, whether favorable or adverse, is applicable in all fields of human accomplishment, and all inventions, all institutions, all life are, broadly speaking, within its scope. It is, however, with literature and with art that criticism has most significantly busied itself, with the result that the term has come to mean the interpretative study of these greatest expressions of man's nature. The Poetics of Aristotle has for centuries been regarded as the first important work of criticism, and the rules there laid down have maintained their value to this day. Aristotle's manner of approach was the scientific method of induction, and his understanding of the fundamental laws of human nature, his perception of those traits, emotions, and desires which, transcending any one age, belong to the men of all ages, underlaid and formed the firm basis of his criticism. Briefly summarized, Aristotle's chief doctrines were that all art and literature should

of life.

The technical side of criticism-questions of metrical and dramatic construction and minor points of style was approached by Aristotle, and the systematic nature of the Poetics is probably the chief reason for the reaction that has now and again set in against what is sometimes termed purely academic criticism. Yet it is just because Aristotle appreciated and showed that all art must have laws that the student will find him so useful; more so even than Plato, whose lightning flashes of interpretation must be ranked with the highest creative critical literature. The critical writers after Aristotle are so numerous-Greek, Byzantine, Latin-and for the most part so occupied with the linguistic phase of composition, that one is glad to pass swiftly by all their rhetorical treatises until there looms up in the third century the figure of Longinus, whose refreshing enthusiasm for the beauty of letters places him above the mechanical student of rules. The most important of his successors were Cicero, Horace, and Quintilian, whose observations on style have been of permanent service. From the time of Quintilian to Dante there is no great name in criticism; nor is this to be wondered at when one reflects that the medieval attitude toward literature was, on the whole, that of distrust and disapprobation. Dante's poetry has so overshadowed his critical treatises that there are probably many lovers of the Divine Comedy who have no conception of the interest of the master's reflections on poetic form and beauty, nor any knowledge of his limitations of the subject-matter of great poetry to love, war, and virtue, or moral philosophy. Of more service than Dante's treatises were the writings of the poets and critics of the Italian Renaissance. Through them the classical tradition was passed on to England and to the rest of Europe; in art and literature, as in science and in politics, the Italy of the Renaissance was the great rejuvenator and originator in the realm of the intellect.

have as function the pleasure-giving representa- Lessing's great achievement was to disperse the tion or 'imitation' of what was universal-apper- fog that Corneille had raised around the drataining to all human nature, and not particularly matic principles of Aristotle, and by clarifying or insignificantly individual; and that great art the classic doctrines, to make possible their apwas measured by the high and lasting pleasure it plication to all art under modern condiafforded to society. To study the impressive tions. And here, without going into any works that have stood the test of time-the Bible, details concerning any present-day doctrines, Homer, Vergil, Dante, Shakespeare, Milton, and even though they be so interesting as the lesser but well-loved poets-in the light of Aris- evolutionary theories with which we readtotle's illuminating laws, is to discover how strik- ily connect the name of M. Brunetière, it may ing in its essence is the similarity in the greatest be well to suggest the wider paths open to critiart; the sameness of man's soul, its passions and cism through modern conditions. The Greek and aspirations, remaining the keynote of art as it is Roman critics had only their own work to study. We of to-day have the dramas, the epics, the novels of many nations and ages. The study of comparative literature, now possible, opens up opportunities for tracing those influences which affected the literatures of all Europe, and affords the student the chance of building up from varying yet interrelated sources a standard of criticism. The differences due to national character and individual genius will teach him the limitations of hard and fast formal rules, while his faith in the fundamental canons of great art can only be made firmer by such comparative study. He will learn that criticism is of use as a method of judgment for the reader, rather than an inspiring guide to the poet, whose highest achievements are never the result of the rules whose vitality they attest. The critic who disregards the universal message of great art, and, maintaining that there is no disputing concerning taste, claims for his personal opinion as much value as can attach to any judgment, rejects for his impressionistic mess of pottage the birthright of many ages of culture. The subjective element of criticism is not, however, precluded by the positive laws revealed through the inductive method applied to works of art. As Lowell pointed out in his essay on Don Quixote, a book is great in proportion to what can be gotten from it, and many an artist has builded better than he knew. The individual critic can be so keen and yet true in his interpretations and so inspiring in his expression as to make his criticism itself creative literature. The qualities which are necessary to the ideal critic are, therefore, not alone knowledge of human nature and of the characteristics of the literature which has endured; he must himself have true power of intuition, sympathy combined with impartiality in judgment, a rational appreciation of the relative importance of form and content, the sense of beauty which will enable him to judge style, and the capacity for making others see what he sees. Method and technique are always valuable, and we of America have much reason to thank Child and Ticknor and Longfellow, who introduced scholarship into our country; for we must think of criticism first of all, not as a formidable and narrowing system, but indeed as a broad view-point, occupying the same relation to literature that literature holds to life; and as law is the condition of true liberty in life, so criticism is the bar to anarchy in literature. "We do not possess what we do not understand," said Goethe. The true critic, like the rhapsodist of old, can be the connecting link between the artist and the public, leading his readers to understand the beauty of a work, and so to possess it. The technical beauty may well be a matter of formal development, but the emotional beauty and appeal rest on the basis of the essen

In more modern times the names of Corneille, Boileau, Voltaire, Diderot, Hugo, and SainteBeuve in France; of Kant, Schiller, and Lessing in Germany; of Sidney, Pope, Addison, Dryden, Wordsworth, and Shelley in England, represent differing views and opinions. Boileau's Art poétique, reminiscent of Horace's Ars Poetica, and Pope's Essay on Criticism have their distinct value as volumes of often authoritative formal instruction furnishing useful analyses of the different kinds of verse compositions. Of far more worth is Sir Philip Sidney's Defence of Poesie (an essay richly reminiscent of the Italian Renaissance), wherein he quaintly reminds us that "though the poet cometh to you with words set in delightful proportion," yet "it is not rhyming and versing that maketh a poet."

tial oneness of human nature, whether in the days of Athens, of Rome, of London, or of New York.

Criticism thus understood is freed from the charges to which certain critics have exposed it. It is not, on the side of form, a narrowing method of petty rules, but a rational study of fitting construction and adequate expression; on the side of content, its most lasting dicta are opposed to the contention of those who, like Ruskin, would make art a handmaiden of morality. It does not restrict genius, because genius precedes it, and genius connotes the sense of form and beauty, and can but be aided by reference to the simple laws of formal beauty. As the art of judgment concerning the fairest flowering of the human spirit, criticism has one of the highest of judicial functions; as the art of interpretation, admitting individual intuition and inspiring teaching, it has a creative function of wide and lofty worth. Consult: Aristotle, Poetics; Horace, Ars Poetica; Kames, Elements of Criticism, latest ed. (London, 1895); Gayley

and Scott, Introduction to the Methods and Materials of Literary Criticism (Boston, 1899); Saintsbury, History of Criticism (London, 1900 et seq.); Courthope, Life in Poetry, Law in Taste (London, 1901); Woodberry, A New Defence of

Poetry (New York, 1900).

CRITIQUE DE L'ÉCOLE DES FEMMES, krê'têk' de lâ'kôl' då fåm (Fr., criticism of the school for wives). An amusing comedy by Molière, produced June 1, 1663, written in defense of his earlier comedy, L'école des femmes, which had been attacked by Le Visé, editor of Le Mercure galant, in the third series of his Nouvelles nouvelles. It consists of a discussion of the merits of the former piece, chiefly carried on between a hypercritical marquis and an amiable

chevalier.

CRITIQUE OF PURE REASON (Ger. Kritik der reinen Vernunft). A great philosophical work by Immanuel Kant (1781), the basis of modern German philosophy.

CRITO (Lat., from Gk. Kpírwv, Kritōn). A wealthy friend and disciple of Socrates. He arranged for his master's escape from prison, but Socrates refused to take advantage of the plan. The philosophic dialogues which he is said to have written are now wholly lost. Plato's dialogue representing the last conversation between Socrates and Crito bears the latter's name.

He

CRIT'OLA'US (Lat., from Gk. Kpirbhaos, Kritolaos). A Greek philosopher, born at Phaselis, in Lycia, in the second century B.C. succeeded Ariston of Ceos as the head of the Peripatetic School at Athens and acquired a high reputation as a philosopher and orator. About 155 B.C. he went to Rome, and, with Carneades and Diogenes, obtained a remission of the fine of 500 talents which the Romans had imposed upon Athens for the destruction of Oropus.

CRITTENDEN, GEORGE BIBB (1812-80). An American soldier, the son of J. J. Crittenden (q.v.). He was born at Russellville, Ky., graduated at the United States Military Academy in 1832, served with distinction in the Mexican War and was promoted to be lieutenant-colonel ( 1856). He resigned and joined the Confederate Army in 1861, was appointed major-general, and was placed in command of southeastern Kentucky and a part of Tennessee. For his defeat at Mill

Spring (1862), however, he was censured. He subsequently served as a volunteer, and from 1867 to 1871 was State Librarian of Kentucky.

CRITTENDEN, JOHN JORDAN (1787-1863). An American statesman, born near Versailles,

Ky. He graduated at William and Mary College

in 1807; served in the War of 1812; and was a United States Senator from 1817 to 1819; United States District Attorney from 1827 to 1829, and a United States Senator again from 1835 to 1841. In 1841 he was appointed Attor ney-General by President Harrison, but resigned when Tyler became President, and was again in the Senate from 1842 to 1848, after which he was Governor of Kentucky from 1848 to 1850. He was again Attorney-General under President Fillmore, and in 1855 was a fourth time sent to the Senate. Although a Southerner, Crittenden consistently devoted his energy and eloquence to the preservation of the Union, and he exerted War, and later to assist the Administration in every effort, first, to avert the impending Civil its prosecution. In the Senate (1860-61) he urged unsuccessfully his famous compromise. (See CRITTENDEN COMPROMISE.) Retiring from the Senate in 1861, he served one term in the House, and in that body also strove for the su premacy of the Constitution. Consult The Life of John J. Crittenden, by his daughter, Mrs. Chapman Coleman (Philadelphia, 1871).

CRITTENDEN, THOMAS LEONIDAS (181593). An American soldier, the son of John Jordan Crittenden, born in Russellville, Ky. He was a private in the Kentucky Volunteers in 1836, studied law, and in 1842 became commonwealth's attorney. During the Mexican War he served as lieutenant-colonel under both General Taylor and General Scott, and when the former became Presi dent, was appointed United States consul at Liverpool. He entered the Federal Army at the beginning of the Civil War, became a brigadiergeneral of volunteers in October, 1861, and for gallantry at Shiloh, where he commanded a division, was raised to the rank of major-general (July 17, 1862). He afterwards commanded a division under General Buell, and took a prominent part in the battles of Murfreesboro and Chickamauga, but resigned from the service in December, 1864. He entered the regular army as colonel of the Thirty-second Infantry in 1866, was brevetted brigadier-general in 1867 for gallantry at Murfreesboro, and served on the frontier until his retirement in 1881.

CRITTENDEN COMPROMISE. In American history, a measure proposed in Congress in 1860 by Senator J. J. Crittenden (q.v.) as a means of preventing the secession of the Southern tional amendments. These amendments were five States, through the adoption of certain constituin number, and provided: (1) That the right to property in slaves was to be recognized and that slavery was to be permitted and protected in all the common territory south of 36° 30', and prohibited north of that line, while the land remained in its territorial status; (2) that Congress was not to have power to abolish slavery in the places under its exclusive jurisdiction which lay within a State where slavery existed; (3) that Congress was to have no power to abolish slavery in the District of Columbia so long as it existed in either Maryland or Virginia, and then only after the owners of the slaves had been compen

sated; (4) that Congress was to have no power to prohibit or hinder the transportation of slaves from one State to another, or to a Territory where slavery was legal; (5) that Congress might provide that in cases where escaped slaves were rescued, or their arrest prevented by mobs, the owners should be compensated by the United States, which in turn might recover damages from the county in which the illegal act occurred. All of these amendments were to be permanent and 'unamendable.' The compromise was defeated in a committee of the Senate, and failed of consideration in the House.

CRIVELLI, krê-věl'lė, CARLO. A Venetian painter of the fifteenth century. His art was formed under the influence of the School of Padua, but he gradually developed a style of his own, and worked in several cities of the Roman Marches, especially at Ascoli, where he finally settled. His work, while somewhat angular and stiff, is characterized by tenderness and interesting richness of detail. He introduced agreeable landscape backgrounds and was particularly fond of giving fruits and flowers as accessories. Among his works are: "Madonna Enthroned," in the Cathedral at Ascoli; "Magdalen," in the Berlin Museum; "Madonna with Saints," "Crucifixion," and "Coronation of the Virgin," in the Brera Gallery at Milan.

CROAKER. See DRUM; GRUNT.

CROAKER AND CO. The pseudonym adopted by Joseph Rodman Drake and Fitz-Greene Halleck in the Croaker Pieces, in the New York Evening Post (1819).

on the west. Croatia constitutes the southwestern portion; Slavonia, the northeastern part. Its area is 16,410 square miles.

A large part of the surface consists of mountain chains ranging in height from about 2000 to 4000 feet, principally spurs of the Julian and Styrian Alps. In Croatia are the Agram highlands, the Croatian Karst (see KARST), with an elevation of about 500 feet, the two ranges of Great and Little Kapella, the former reaching a height of about 500 feet, and the Velebit range, whose highest summit is about 5750 feet. On the borders of Carniola are the Uskok Mountains. The beautiful mountain region on the northwest is called Croatian Switzerland. The interior along the Save consists of an extensive and fruitful valley. The eastern part contains fertile, well-cultivated valleys, while the western part is covered with forests. There are several small rivers flowing into the Save and Drave, and a number of lakes on the coast.

The climate is generally moderate, but very raw in the coastland of Croatia, which is exposed to the currents from the Adriatic and to the fierce ravages of the Bora, a cold northeastern wind, very destructive in its effects and greatly feared by the inhabitants. In this western portion of the province the winters are long and the summers dry. In parts of Slavonia the climate is very insalubrious, account of numerous swamps. The annual average temperature of the province fluctuates between 480 and 52° F. The soil is fairly fertile and the range of vegetation very wide. About 32 per cent. of the productive area is arable land, 23 per cent. is in meadows and pastures, 38 per cent. is under forests, and 1 per cent. is covered with vineyards. The com

on

CROAKER, Mr. and Mrs. An oddly assorted couple in Goldsmith's The Good-natured Man; she is as merry in her cynicism as he is lugubri-mon European cereals are raised extensively, es

ous in his.

CROATAN, krô-a'tan. An island off the coast of North Carolina, south of Roanoke Island, at the time of the first English attempt at colonization, about 1585. By the shifting of the sands it is now probably a part of Hatteras or Ocracoke Island. A colony of 117 persons landed by Sir Walter Raleigh upon Roanoke Island in 1587, and of whose ultimate fate nothing definite was ever afterwards learned, is supposed to have taken refuge with friendly Indians upon Croatan Island, and to have eventually become absorbed into that tribe. Recently, new interest has been given to the story through the claim of descent from these colonists, asserted by a considerable body of mixed-blood stock in Robeson County, in the southern part of the State. Although their claim has probably no sound historical basis, they have been officially recognized by the State as a separate people under the name of

'Croatan Indians.'

CROATIA (kro-a'shi-å) AND SLAVONIA (Slav. Hrvatska i Slavoniya, Hung. Horvát-Slavonország, from Croat. Hrvat, OChurch Slav. Khruvatină, Slov. Khrvat, Pol. Karwat, Russ. Khrovate, Croat. and OChurch Slav. Slovieninu, Russ. Slavyaninŭ, MGk. 'Eoxλaßŋvós, Esklabēnos, a Slav, whence Ger. Sklave, Engl. slave). Á kingdom of Austria-Hungary, constituting one of the lands of the Hungarian Crown (Map: Hungary, D 4). It is separated by the Drave and the Danube from Hungary proper on the northeast, by the Save from Servia and Bosnia on the south, has Dalmatia and the Adriatic on the southwest, and Styria, Carniola, and Istria

pecially wheat and corn. The yield of potatoes is considerable. Fruits are grown in abundance, notably apples, plums, nuts, and grapes in the southern part of the country.

The mineral production of Croatia and Slavonia is unimportant. Some coal, iron, marble, copper, and sulphur figure in the exports. There are but few modern industrial establishments, the bulk of the manufactures originating in the domestic industry of the peasant families. There are some silk-mills, glass and sugar mills, a few ship-building, milling, paper, and leather establishments in the coast districts, and a number of distilleries. The plum brandy of Slavonia is famous under the name of Sliwowitz. There is a considerable transit trade, largely carried on through the ports of Fiume, Zengg, and Porto Ré. The chief articles of export are grain, fruits, wine, lumber, and flour. The province is well provided with railway facilities, and the two navigable watercourses of the Save and Danube contribute largely to its commercial importance. Much traffic is also carried on with Bosnia over

the mountain roads.

The Ban, appointed by the Emperor, as King of Hungary, with the approval of the Hungarian Prime Minister, is at the head of the provincial administration. In its local administration the province is autonomous. It has a Diet (Landtag) composed of the Church dignitaries, magnates, and representatives of the towns and rural communities, the last being elected indirectly. In the Hungarian Diet, the province is represented by forty Deputies in the Lower House and three in the Upper House. It is entitled to one min

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