454 
C R A 
injure it if that was completed first. From 
thence proceed to the forehead, finishing 
plelcd' 11 ' 0 tl11 tllC vvllole P iciure coin- 
hi painting over the forehead the last 
time, begin the highest light with the most 
tamt vermilion tint, in the same place where 
me taint carmine was first laid, keeping it 
bl oad "j. the sai «e manner. In the next shade 
succeeding the lightest, the student must 
work m some light-blue tints, composed of 
vciditer and white, intermixing with them 
some of tlie deeper vermilion tints, sweet- 
ening them together with great caution, in- 
seiiMb.y melting them into one another, in- 
creasing the proportion of each colour as his 
judgment shall direct. Some brilliant yellows 
may a.so be used, but sparingly ; and towards 
tie roots of the hair strong verditer tints, 
intermixed with green, will be of singular ser- 
Mce. Cooling crayons, composed of black 
mid white, should succeed these, and melt 
into the hair. Beneath the eyes the sweet 
pearly tints are to be preserved, composed 
o verditer and white; and under the nose 
and on the temples the same may be used ; 
beneath the lips tints of this kind also are 
proper, mixing them with the light greens 
and some vermilion. 
In finishing the cheeks let the pure lake 
clear them from any dust contracted from 
the other crayons ; then with the lake may be 
mtermixed the bright vermilion ; and last of 
ml (if the subject should require it), a few 
touches of the orange-coloured cravon, but 
with extreme caution ; after, sweeten that 
part with the finger as little as possible, for 
fear ot producing a heavy disagreeable ef- 
fect on the cheeks ; as the beauty of a cray- 
on-picture consists in one colour shewing it- 
seh through, or rather between, another ; 
this the student cannot too often remark, it 
being the only method of imitating beautiful 
complexions. 
The eye is the most difficult feature to exe- 
cute in crayons, as every part must be ex- 
pressed with the utmost nicety to appear 
finished ; at the same time that the painter 
must preserve its breadth and solidity while 
be is particularizing the parts. To accom- 
plish this, it will be a good general rule for 
the student to use his crayon in sweetening 
as much, and his finger as little, as possible. 
When he wants a point to touch a small part 
with, he may break olf a little of his crayon 
against the box, which will produce a corner 
fit to work with in the minutest parts. If the 
eyelashes are dark, he must use some of the 
carmine and brown ochre, and the crayon of 
carmine and black ; and with these he may 
also touch the iris of the eye (if brown or ha- 
xel), making a broad shadow, caused by the 
eyelash. Red tints of vermilion, carmine, 
and lake, will execute the corners of the eye 
properly ; but if the eyelids are too red, they 
w ,iH have a disagreeable sore appearance. 
The pupil of the eye must be made of pure 
lamp-black : between this and the lower part 
ot the iris the light will catch very stron", 
but it must not be made too sudden, but be 
gently diffused round the pupil till it is lost 
r.i shade. When the eyeballs are sufficiently 
prepared, the shining spect must be made 
with a pure white crayon, which should be 
first broken to a point," and then laid on firm ; 
but as it is possible they may be defective in 
10 
C R A 
neatness, they should be corrected with a 
pin, taking off the redundant parts, by which 
means they may be formed as neat as can be 
required. 
The difficulty with respect to the nose, is 
to preserve the lines properly determined, 
and at the same time so artfully blended into 
the cheek, as to express its projection, and 
yet no real line to be perceptible upon a close 
examination ; in some circumstances it should 
be quite blended with the cheek, which ap- 
pears behind it, and determined entirely with 
a slight touch of red chalk. The shadow 
caused by the nose is generally the darkest 
in the whole face, partaking of no reflection 
from its surrounding parts. Carmine and 
brown ochre, carmine and black, and such 
brilliant crayons, will compose it best. 
The student having before prepared the 
lips v ith the strongest lake and carmine. See. 
must with these colours make them com- 
pletely correct ; and when finishing intro- 
duce the strong vermilions, but with great 
caution, as they are extremely predominant. 
This, if properly touched, will give the lips 
an appearance equal, if not superior, to those 
executed in oils, notwithstanding the seeming 
superiority the latter have by means of glaz- 
ing, of which the former are entirely clesti- 
tute. J 
When the student paints the neck, he 
should avoid expressing the muscles too strong 
in the stem, nor should the bones appear too 
evident on the chest, as both have an un- 
pleasing effect, denoting a violent agitation of 
the body ; a circumstance seldom necessary 
to express in portrait-painting. The mos-t 
necessary part to be expressed, and which 
should ever be observed (even in the most 
delicate subjects), is a strong marking just 
above the place where the collar-bones 
unite; and if the head is much thrown over 
the shoulders, some notice should be taken 
of the large muscle that rises from behind 
the ear, and is inserted into the pit between 
the collar-bones. All inferior muscles should 
be, in general, quite avoided. The student 
will find this caution necessary, as most sub- 
jects, especially thin persons, have the mus- 
cles of the neck much more evident than it 
would be judicious to imitate. As few necks 
are too long, it may be necessary to give 
some addition to the stem, a fault on the 
other side being quite unpardonable, nothing 
being more ungraceful than a short neck. In 
colouring the neck, let the student preserve 
the stem of a pearly hue, and the light not so 
strong as on the chest. If any part of the 
breast appears, its transparency must also be 
expressed by pearly tints ; but the upper 
part of the chest should be coloured with 
beautiful vermilions delicately blended with 
the other. 
Of the drapery. — Dark blue, purple, black, 
pmk, and all kinds of red draperies also, 
should be first tinged with carmine, which 
will render the colours much more brilliant 
than any other method ; over this should be 
laid on the paper the middle tint (a me- 
dium between the light and dark tints, of 
which the drapery is to be painted), except 
the dark masses of shadow, which should be 
laid on at first as deep as possible: these, 
sweetened with the finger, being destitute of 
the smaller folds, will exhibit a masterly 
breadth which the lesser folds, when added, 
ought by no means to destroy. With the 
CRE 
light and dark tints the smaller parts are 
next to be made with freedom, executing as 
much with the crayon, and as little with the 
finger, as possible ; in each fold touching the 
last stroke with the crayon, which stroke the 
finger must never touch. In the case of re- 
flections, the simple touch of the crayon 
will be too harsh, therefore lingering will’ be 
necessary afterwards, as reflected lights are 
always more gentle than those which are 
direct. With respect to reflections in ge- 
neral, they must always partake of the same 
colour as the object reflecting; but in the 
case of single figures it may be useful to 
make some particular observations. 
In a blue drapery, let the reflections be of 
a greenish cast ; in green draperies, make 
them of a yellow tint ; in yellow, of an 
orange ; in orange, reflect a reddish cast.; in 
all reds, something of their own nature, but 
inclined to a yellow: black should have the 
reddish reflection ; the reflection of a reddish 
tint will also present purples to the best ad- 
vantage. 
Of wiiatever colour the drapery is, the re- 
flection of the face must partake of it ; 
otherwise the picture, like paintings on glass’ 
will have but a gaudy effect. 
Linen, lace, fur, &c. should be touched 
spiritedly with the crayon, fingering very lit- 
tle, except the latter ; and the last touches 
even of this, like all other parts, should be 
executed by the crayon, without sweetening 
by the linger. 
The methods above-recommended have 
been practised by the most celebrated cray- 
on-painters, whose works have been held ’in 
public estimation: but the knowledge of, 
and ability to execute, each separate part 
with brilliancy and truth, will be found very 
insufficient to’ constitute a complete painter, 
without his judgment enables him to unite 
them with each other, by correctness of 
drawing, propriety of light and shadow, and 
harmony of colouring. In order to accom- 
plish this, the student should carefully avoid 
finishing one part in particular, till he has 
properly considered the connection it is to 
have with the rest. The neglect of (his is 
the principal reason why the performances of 
indifferent painters are so destitute of what 
is termed breadth, so conspicuously beauti- 
ful in the works of great masters. It must be 
granted that this observation relates more 
particularly to large compositions, where a 
diversity of figures requires such a judicious 
disposition, that each may assist in the com- 
bination of a kind of universal harmony; 
yet, even in portrait-painting, the student 
should be particularly attentive to observe 
this idea of breadth, if he is desirous of ac- 
quiring that importance and dignity which 
constitute excellence in painting. 
CREAM of tartar, called also chrystals of 
tartar. See Pharmacy. 
CREDITORS shall recover their debts 
of executors, or administrators, who in their 
own wrong, waste, or convert to their use, 
the estate of the deceased. 30 C. II. c. 7. 
Wills and devises of lands, &c. as to creditors 
on bonds, or other specialties, are declared 
void : and the creditors may have actions of 
debt against the heir at law and devisees, 
3 and 4 W. and M. c. 14: and in favour of 
creditors, whenever it appears to be the tes- 
tator’s intent, in a will, that his land should 
be liable for paying his debts, in such case 
