CRAYER, Gaspard de (1582-1669), was born at Antwerp, and learnt the art of painting from Raphael Coxcie. He matriculated in the guild of St Luke at Brussels in 1607, resided in the capital of Brabant till after 1660, and finally settled at Ghent. Amongst the numerous pictures which he painted in the last of these cities, one in the town museum represents the Martyrdom of St Blaise, and bears the inscription A * 1668 aet. 86. Crayer, one of the most productive yet one of the most conscientious artists of the later Flemish school, was second to Rubens in vigour and below Vandyck in refinement; but he very nearly equalled both in most of the essentials of painting; and it is probably true, as stated by modern critics, that his fame was unfairly overshadowed by that of two great contemporaries with whom he was on terms of intimacy. He was well known and always well treated by Albert and Isabella, governors of the Netherlands. The Cardinal-Infant Ferdinand made him a court-painter. His pictures abound in the churches and museums of Brussels and Ghent; and there is scarcely a country chapel in Flanders or Brabant that cannot boast of one or more of his canvases. But he was equally respected beyond his native countrvι and some important pictures of his composition are to be found as far south as Aix in Provence, and as far east as Amberg in the Upper Palatinate. His skill as a decorative artist is shown in the panels executed for a triumphal arch at the entry of Cardinal Ferdinand into the Flemish capital, some of which are publicly exhibited in the museum of Ghent. Crayer died at Ghent. His best works arc the Miraculous Draught of Fishes in the Gallery of Brussels, the Judgment of Solomon in the Gallery of Ghent, and Madonnas with Saints in the Louvre, the Munich Pinakothek, ...

CRAYON, a coloured material for drawing, employed generally in the form of pencils, but sometimes also as a powder, and consisting of native earthy and stony friable substances, or of artificially prepared mixtures of a base uf pipe or China clay with Prussian blue, orpiment vermilion, umber, and other pigments. Calcined gypsum, talc, and compounds of magnesium, bismuth, and lead are occasionally used as bases. The required shades of tints are obtained by adding varying amounts of colouring matter to equal quantities of the base. The ingredients of crayons or pastils are made into a paste with gum, turpentine, or alcoholic solution of shellac, and pιdverized as finely as possible in a mill, which subjects them repeatedly to the action of a revolving cast-iron grinder. The paste is introduced into a copper cylinder, closed at one end by a plate pierced with holes of the diameter of the. crayons to be made. Through these it is forced by means of a piston, and the vermicular pieces obtained are then cut into the required lengths, and dried in a furnace at a gentle heat. Black crayons may be manufactured from a mixture of one part of lamp-black with about two-thirds of its bulk of clay; red crayons from powdered and elutriated haematite worked up into a paste with gum arabic and a little soap. White crayons are commonly formed by sawing chalk of good quality into convenient shapes. Mixtures of soap, wax, and lampblack are employed for lithographic crayons or chalks. The late well-known zoological lithographer, George Ford, employed chalks made after the following receipt :— [table]...