John Crome--Old Crome, as he is usually called to distinguish him from his less distinguished son, John Bernay Crome--was born at Norwich, and had to support himself most of his life by teaching drawing, not to professional pupils unfortunately; but incidentally he founded "The Norwich School" of landscape painters, who loyally carried forward the traditions he had inculcated. But having to spend his time as a drawing-master, he was not free like the old Dutch painters to put out pictures when and as often as he would, and his work in oils is therefore comparatively scarce. The three examples at the National Gallery are typical of his varied powers, _The Slate Quarries_, _Household Heath_, and _Porringland Oak_ are all of them masterpieces. JOHN SELL COTMAN, born in 1782, was, after Crome, the most considerable of the Norwich School. He, too, was compelled to earn a livelihood by being a drawing-master, for there was not as yet a sufficient market, nor for some time later, for landscape pictures, to support existence, however humble. Cotman devoted much of his energies to water-colours, and he is better known in this branch of the art than in painting; that is the only excuse for the National Gallery in having purchased as his the very inferior picture called _A Galliot in a Gale_. The other example, _Wherries on the Yare_, is more worthy of him, though it by no means exhibits all his wonderful power and fascination. In GEORGE MORLAND (1763-1804) we have something more and something less than a landscape painter. Landscape to him was not what it was to Wilson, Gainsborough or Crome,--the only end in view; nor was it merely a background for his subjects. But, as it generally happened, it was both. To Morland, the landscape and the figures were one and the same thing. Out of the fulness of his heart he painted pictures of _Boys Robbing an Orchard_, _Horses in a Stable_, or a _Farmer on Horseback_ staying to talk to a group of gypsies beside a wood, and whether or not the picture might be classed as a landscape depended entirely on the nature of the scene itself. Whatever he saw or chose to see he painted with equal skill and with equal charm; and as his choice of vision lay in the simple everyday life that surrounded him, his variety is not the least of his attractions.