The Blessed Virgin and S. John the Divine are frequently placed on the arms of the Cross beyond the hands of Christ, as in a beautiful enamelled crucifix in the Museum at Copenhagen, which was once the property of Dagmar, the "darling queen" of Denmark, on whose breast it was buried in 1212. At the top, again, is often found a hand in the attitude of benediction, a symbol of the Father, and at the foot writhes the vanquished serpent. Many of the more elaborate examples had the reverse side enamelled or engraved, usually with appropriate Old Testament types, such as the fall of Adam, or the sacrifice of Abraham. Almost the only emblematic additions to the crucifix which have survived in use to our day are the apocalyptic symbols of the four evangelists, still often found on large crosses, especially those on rood screens; and the skull placed at the foot, sometimes with cross-bones, as a symbol of death. This last is much more modern in introduction than the others. Crucifixes of this full and elaborate type are found as late as the fourteenth century, but as pictoral art advanced, and the whole scene of the passion was treated by artists with increasing frequency and fullness, the extraneous details dropped from the crucifix, and it became the simple, yet dignified expression of the crucified Redeemer, as it is this day. Almost the same phases that we have noticed in the formation of the crucifix show themselves also in early representation of the crucifixion-scene. There is the same restraint in depicting the central figure, the same use of conventional forms and of symbols. There are examples in which, while the two thieves are shown as crucified, the Lord stands in the midst with outspread arms, but with no cross save that in the nimbus above His head. The persons introduced, as a rule, are few in number; almost always we have the Blessed Virgin and S. John, with emblematic signs for the sun and moon. Sometimes also the two thieves, and less frequently two female figures, personifying the Jewish and Christian Churches. The long robe, instead of the loin-cloth, on the Crucified, and the hand symbolising the father, are both common forms in the earliest paintings or carved ivories. There is a curious example in the chapel of S. Silvestro, at Rome, in which soldiers with a spear and the sponge on a reed are introduced, while a small angel is seen removing the crown of thorns and substituting a regal one. All the three crosses are shown in this fresco, the two lesser ones of the usual type, but the Saviour's in the form of a =Y=, the cross that appears on the back of a Gothic chasuble. The date of this work is said to be 1248. The thirteenth and fourteenth centuries witnessed the rise of the great Italian schools of art, and with the artists' growing mastery over their materials Crucifixions became fuller of details and less rigidly conventional, though not less devotional and scarcely less symbolic. A host of angels