obtained were confirmed by numerous royal charters extending over a period of nearly 800 years. Under Abbot Ægelric the fens were tilled, the monastery grew rich, and the town increased in size, enormous tracts of land being held by the abbey at the Domesday Survey. The town was nearly destroyed by fire (1469–1476), but the abbey tenants were given money to rebuild it. By virtue of his office the abbot had a seat in parliament, but the town was never a parliamentary borough. Abbot Ralph Mershe in 1257 obtained a grant of a market every Wednesday, confirmed by Henry IV. in 1421, but it was afterwards moved to Thorney. The annual fair of St Bartholomew, which originally lasted twelve days, was first mentioned in Henry III.’s confirmatory charter of 1227. The dissolution of the monastery in 1539 was fatal to the progress of the town, which had prospered under the thrifty rule of the monks, and it rapidly sank into the position of an unimportant village. The abbey lands were granted by Edward VI. to Lord Clinton, from whose family they passed in 1671 to the Orby family. The inhabitants formerly carried on considerable trade in fish and wild fowl.
See R. Gough, History and Antiquities of Croyland (Bibl. Top. Brit. iii. No. 11) (London, 1783); W. G. Searle, Ingulf and the Historia Croylandensis (Camb. Antiq. Soc., No. 27); Dugdale, Monasticon, ii. 91 (London, 1846; Cambridge, 1894).
CROWLEY, ROBERT (1518?–1588), English religious and social reformer, was born in Gloucestershire, and educated at
Magdalen College, Oxford, of which he was successively demy
and fellow. Coming to London, he set up a printing-office in
Ely Rents, Holborn, where he printed many of his own writings.
As a typographer, his most notable production was an edition
of Pierce Plowman in 1550, and some of the earliest Welsh
printed books came from his press. As an author, his first
venture seems to have been his “Information and Petition
against the Oppressors of the poor Commons of this realm,”
which internal evidence shows to have been addressed to the
parliament of 1547. It contains a vigorous plea for a further
religious reformation, but is more remarkable for its attack on
the “more than Turkish tyranny” of the landlords and
capitalists of that day. While repudiating communism, Crowley
was a Christian Socialist, and warmly approved the efforts of
Protector Somerset to stop enclosures. In his Way to Wealth,
published in 1550, he laments the failure of the Protector’s
policy, and attributes it to the organized resistance of the richer
classes. In the same year he published (in verse) The Voice of
the last Trumpet blown by the seventh Angel; it is a rebuke in
twelve “lessons” to twelve different classes of people; and
a similar production was his One-and-Thirty Epigrams (1550).
These, with Pleasure and Pain (1551), were edited for the Early
English Text Society in 1872 (Extra Ser. xv.). The dozen or
more other works which Crowley published are more distinctly
theological: indeed, the failure of the temporal policy he
advocated seems to have led Crowley to take orders, and he
was ordained deacon by Ridley on the 29th of September
1551. During Mary’s reign he was among the exiles at Frankfort.
At Elizabeth’s accession he became a popular preacher, was
made archdeacon of Hereford in 1559, and prebendary of St
Paul’s in 1563, and was incumbent first of St Peter’s the Poor
in London, and then of St Giles’ without Cripplegate. He
refused to minister in the “conjuring garments of popery,” and
in 1566 was deprived and imprisoned for resisting the use of the
surplice by his choir. He stated his case in “A brief Discourse
against the Outward Apparel and Ministering Garments of
the Popish Church,” a tract “memorable,” says Canon Dixon,
“as the first distinct utterance of Nonconformity.” He continued
to preach occasionally, and in 1576 was presented to the
living of St Lawrence Jewry. Nor had he abandoned his connexion
with the book trade, and in 1578 he was admitted a
freeman of the Stationers’ Company. He died on the 18th of
June 1588, and was buried in St Giles’. The most important of
his works not hitherto mentioned is his continuation of Languet
and Cooper’s Epitome of Chronicles (1559).
See J. M. Cowper’s Pref. to the Select Works of Crowley (1872); Strype’s Works; Gough’s General Index to Parker Soc. Publ.; Machyn’s Diary; Macray’s Reg. Magdalen College; Newcourt’s Rep. Eccles. Lond.; Hennessy’s Nov. Rep. Eccl. (1898); Le Neve’s Fasti Eccl. Angl.; Pocock’s Burnet; Pollard’s England under Somerset; R. W. Dixon’s Church History. (A. F. P.)
CROWN, an English silver coin of the value of five shillings,
hence often used to express the sum of five shillings. It was
originally of gold and was first coined in the reign of Henry VIII.
Edward VI. introduced silver crowns and half-crowns, and down
to the reign of Charles II. crowns and half-crowns and sometimes
double crowns were struck both in gold and silver. In
the reign of Edward VI. also was introduced the practice of
dating coins and marking them with their current value. The
“Oxford crown” struck in the reign of Charles I. was designed
by Rawlins (see Numismatics: Medieval). Since the reign of
Charles II. the crown has been struck in silver only. At one
time during the 19th century it was proposed to abandon the
issue of the crown, and from 1861 until 1887 none was struck,
but since the second issue in 1887 it has been freely in circulation
again.
CROWN and CORONET, an official or symbolical ornament worn on or round the head. The crown (Lat. corona) at first had no regal significance. It was a garland, or wreath, of leaves or flowers, conferred on the winners in the athletic games. Afterwards it was often made of gold, and among the Romans was bestowed as a recognition of honourable service performed
or distinction won, and on occasion it took such a form as to correspond with, or indicate the character of, the service rendered. The corona obsidionalis was formed of grass and
flowers plucked on the spot and given to the general who conquered a city. The corona civica, made of oak leaves with acorns, was bestowed on the soldier who in battle saved the
life of a Roman citizen. The mural crown (corona muralis) was
the decoration of the soldier who was the first to scale the walls
of a besieged city, and was usually a circlet of gold adorned with
a series of turrets. The naval crown (corona navalis), decorated
in like manner with a series of miniature prows of ships, was the
reward of him who gained a notable victory at sea. These latter
crowns form charges in English heraldry (see Heraldry).
Many other forms of crown were used by the Romans, as the conqueror’s triumphal crown of laurel, the myrtle crown, and the convivial, bridal, funeral and other crowns. Some of the emperors wore crowns on occasion, as Caligula and Domitian, at the games, and stellate or spike crowns are depicted on the heads of several of the emperors on their coins, but no idea of imperial sovereignty was indicated thereby. The Roman people, who had accepted imperial rule as a fact, were very jealous of the employment of its emblem on the part of their rulers. That emblem was the diadem, and although the diadem and crown are frequently confused with each other they were quite distinct, and it is well to bear this in mind. The diadem, which was of eastern origin, was a fillet or band of linen or silk, richly embroidered, and was worn tied round the forehead. Selden (Titles of Honour, chap. viii. sect. 8) says that the diadem and crown “have been from ancient times confounded, yet the diadem strictly was a very different thing from what a crown now is or was, and it was no other then than only a fillet of silk, linen, or some such thing.” It is desirable to remember the distinction, for, although diadem and crown are now used as synonymous terms, the two were originally quite distinct. The confusion between them has, perhaps, come about from the fact that the modern crown seems to be rather an evolution from the diadem than the lineal descendant of the older crowns. The linen or silk diadem was eventually exchanged for a flexible band of gold, which was worn in its place round the forehead. The further development of the crown from this was readily effected by the addition of an upper row of ornament. Thus the medieval and modern crowns may be considered as radiated diadems, and so the diadem and crown have become, as it were, merged in one another.
Among the historical crowns of Europe, the Iron Crown of Lombardy, now preserved at Monza, claims notice. It is a band of iron, enclosed in a circlet formed of six plates of gold,
