See also:

• CRAYON (Fr. craie, chalk, from Lat. creta)

CRAYON (Fr. craie, See also:

• CHALK

chalk, from See also:

• LAT

Lat. creta)  , a coloured material for See also:

• DRAWING

drawing, employed generally in the See also:

• FORM (Lat. forma)

form of pencils, but sometimes also as a See also:

• POWDER (through O. Fr. puldre, modern poudre, from Lat. pulvis, pulveris, dust)

powder, and consisting of native earthy and stony friable substances, or of artificially prepared mixtures of a See also:

• BASE

base of See also:

• PIPE

pipe or See also:

• CHINA

china See also:

• CLAY (from O. Eng. claeg, a word common in various forms to Teutonic languages, cf. Ger. Klei)
• CLAY, CASSIUS MARCELLUS (1810-1903)
• CLAY, CHARLES (1801–1893)
• CLAY, FREDERIC (1838–1889)
• CLAY, HENRY (1777–1852)

clay with Prussian See also:

• BLUE (common in different forms to most European languages)

blue, See also:

• ORPIMENT (auripigmentum)

orpiment, See also:

• VERMILION

vermilion, See also:

• UMBER

umber and other See also:

• PIGMENTS (Lat. pigmentum, from pingere, to paint)

pigments . Calcined See also:

• GYPSUM

gypsum, See also:

• TALC

talc and compounds of See also:

• MAGNESIUM [symbol Mg, atomic weight 24.32 (0 = 16)]

magnesium, See also:

• BISMUTH

bismuth and See also:

• LEAD
• LEAD (pronounced iced)

lead are occasionally used as bases . The required shades of tints are obtained by adding varying amounts of colouring See also:

• MATTER

matter to equal quantities of the base . Crayons are used by the artist to make groupings of See also:

• COLOURS, MILITARY

colours and to secure landscape and other effects with ease and rapidity . The outline as well as the See also:

• REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of the picture is See also:

• DRAWN

drawn in See also:

• CRAYON (Fr. craie, chalk, from Lat. creta)

crayon . The colours are softened off and blended by the See also:

• FINGER

finger, with the assistance of a stump of See also:

• LEATHER (a word which appears in all Teutonic languages; cf. Ger. Leder, Dutch leer or leder, Swed. leder, and in such Celtic forms as Welsh llader)
• LEATHER, ARTIFICIAL

leather or See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper; and shading is produced by See also:

• CROSS

cross-hatching and stippling . The See also:

• ART

art of See also:

• PAINTING

painting in crayon or See also:

• PASTEL

pastel is supposed to have originated in See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany in the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . By Johann See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander Thiele (1685–1752) it was carried to See also:

• GREAT

great perfection, and in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France it was See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early practised with much success . Amongst the earlier pastellists may be mentioned Rosalba Carriera (1675–1757), W . See also:

• HOARE, SIR RICHARD COLT, BART

Hoare (1707–1792), F . See also:

• COTES, ROGER (1682-1716)

Cotes (1726–1770), and J . See also:

• RUSSELL (FAMILY)
• RUSSELL, ISRAEL COOK (1852- )
• RUSSELL, JOHN (1745-1806)
• RUSSELL, JOHN (d. 1494)
• RUSSELL, JOHN RUSSELL, 1ST EARL (1792-1878)
• RUSSELL, JOHN SCOTT (1808–1882)
• RUSSELL, LORD WILLIAM (1639–1683)
• RUSSELL, SIR WILLIAM HOWARD
• RUSSELL, THOMAS (1762-1788)
• RUSSELL, WILLIAM CLARK (1844– )

Russell (1744–1806); and in See also:

• RECENT

recent years the art has been successfully revived .