Amongst the few crucifixes in the east which survived the destruction consequent first on the iconoclastic persecution, and then their final condemnation, is one that is probably the oldest in the world. It is in the Monastery of Xeropotami, on Mount Athos, and consists of an alleged fragment of the true cross with two transverse pieces, the upper and smaller one representing the superscription. On these lies a small ivory figure, and below is a representation of the Church of the Holy Sepulchre in gold and jewels. It is said to have been a gift from the Empress Pulcheria (414-453), a fact which may account for its preservation. The history of the development of the crucifix does not end, when the Divine effigy assumed the place of the type upon it. The earliest artists made no attempt at realism in moulding or carving the figure. They on the contrary distinctly avoided it, and the crucifix continued to be emblematic. The truth which they aimed especially at setting forth was the voluntary character of the Lord's self-sacrifice. The Christ, therefore, is generally clothed in a robe reaching to the feet, the outspread arms do not hang but lie straight along the transverse beam, and the feet are placed side by side upon a supporting ledge; the head is erect, and the eyes frequently, if not usually, are open and look straight forward. The side is not pierced, and often the hands and feet show neither wounds nor nails. Others of these early crucifixes set forth the thought of Christ as king reigning from the tree, in unison with that line of the famous hymn Vexilla Regis, "Regnavit a ligno Deus;" and the figure is here royally crowned and robed. A crucifix that has become historical is the Holy Face of Lucca, traditionally ascribed to the workmanship of S. Luke, but really dating from about the eight century. On this, by which William Rufus was in the habit of swearing under the name of the "Face of S. Luke," are combined the characters of King and Priest, the figure being crowned, and clad in a dark sacerdotal vestment. In these crucifixes there is no appeal to the emotions, no petition for pity on behalf of agonised humanity; but an impressive declaration on the part of the artist of his strong faith in the deity of the Sufferer.