See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

JOHN See also:

• JOHN CROME (1769-1821)

CROME (1769-1821)  , See also:

• ENGLISH

English landscape painter, founder and See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief representative of the " See also:

• NORWICH
• NORWICH, GEORGE GORING, EARL OF (1583?-1663)

Norwich School," often called Old See also:

• CROME, JOHN (1769-1821)

Crome, to distinguish him from his son, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Norwich, on the 21st of See also:

• DECEMBER (Lat. decent, ten)

December 1769 . His See also:

• FATHER

father was a See also:

• WEAVER, JAMES BAIRD (1833- )

weaver, and could give him only the scantiest See also:

• EDUCATION

education . His See also:

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

early years were spent in See also:

• WORK

work of the humblest See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind; and at a See also:

• FIT

fit See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age he became apprentice to a See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house-painter . To this step he appears to have been led by an inborn love of See also:

• ART

art and the See also:

• DESIRE

desire to acquaint himself by any means with its materials and processes . During his See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship he sometimes painted signboards, and devoted what leisure See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he had to sketching from nature . Through the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of a See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich art-loving friend he was enabled to See also:

• EXCHANGE

exchange his occupation of house-painter for that of See also:

• DRAWING

drawing-See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master; and in this he was engaged throughout his See also:

• LIFE

life . He took See also:

• GREAT

great delight in a collection of Dutch pictures to which he had See also:

• ACCESS (Lat. accessus)

access, and these he carefully studied . About 1790 he was introduced to See also:

• SIR

Sir See also:

• WILLIAM
• WILLIAM (1143-1214)
• WILLIAM (1227-1256)
• WILLIAM (1J33-1584)
• WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
• WILLIAM (c. 1130-C. 1190)
• WILLIAM, 13TH

William See also:

• BEECHEY, FREDERICK WILLIAM (1796—1856)
• BEECHEY, SIR WILLIAM (1753—1839)

Beechey, whose house in See also:

• LONDON

London he frequently visited, and from whom he gathered additional knowledge and help in his art . In 1805 the Norwich Society of Artists took definite shape, its origin being traceable a See also:

• YEAR

year or two further back . Crome was its See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president and the largest contributor to its See also:

• ANNUAL

annual exhibitions . Among his pupils were See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James See also:

• STARK, JAMES (1794-1859)
• STARK, JOHN (1728-1822)

Stark, See also:

• VINCENT (or VINCENTIUS), ST
• VINCENT, GEORGE (1796-1831?)
• VINCENT, MARY ANN (1818-1887)

Vincent, Thirtle and See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• BERNAY

Bernay (Barney) Crome (1794-1842), his son . J .

S . See also:

• COTMAN, JOHN SELL (1782-1842)

Cotman, too, a greater artist than any of these, was associated with him . Crome continued to reside at Norwich, and with the exception of his See also:

• SHORT, FRANCIS JOB (1857– )

short visits to London had little or no communication with the great artists of his own time . He first exhibited at the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy in 1806; but in this and the following twelve years he exhibited there only fourteen of his See also:

• WORKS

works . With very few exceptions Crome's subjects are taken from the See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar scenery of his native See also:

• COUNTY (through Norm. Fr. comae, cf. O. Fr. cunte, conk', Mod. Fr. comae, from Lat. comitatus, cf. Ital. comitato, Prov. comtat; see COUNT)

county . Fidelity to nature was his dominant aim . " The See also:

• BIT (from the verb " to bite," either in the sense of a piece bitten off, or an act of biting, or a thing that bites or is bitten)

bit of See also:

• HEATH
• HEATH, BENJAMIN (1704-1766)
• HEATH, WILLIAM (1737—1814)

heath, the See also:

• BOAT (0. Eng. bdt; the true etymological connexion with Dutch and Ger. boot, Fr. bateau, Ital. battello presents great difficulties; Celtic forms are from O. Eng.)

boat, and the slow See also:

• WATER

water of the flattish See also:

• LAND

land, trees most of all—the single See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree in elaborate study, the See also:

• GROUP

group of trees, and how the growth of one affects that of another, and the characteristics of each,"—these, says See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick See also:

• WEDMORE, FREDERICK (1844— )

Wedmore (Studies in English Art), are the things to which he is most See also:

• CONSTANT, BENJAMIN (1845-1902)

constant . He still remains, says the same critic, of many trees the greatest draughtsman, and is especially the master of the See also:

• OAK (O. Eng., (lc)

oak . His most important works are—" Mousehold Heath, near Norwich," now in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery; " See also:

• CLUMP

Clump of Trees, Hautbois See also:

• COMMON

Common "; " Oak at Poringland "; the " See also:

• WILLOW (Salix)

Willow "; " See also:

• COAST (from Lat. costa, a rib, side)

Coast See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

Scene near See also:

• YARMOUTH
• YARMOUTH (GREAT YARMOUTH)

Yarmouth "; " See also:

• BRUGES (Flemish Brugge, a name signifying the bridge or place of bridges)

Bruges, on the See also:

• OSTEND (Flemish and French Ostende)

Ostend See also:

• RIVER

River "; " See also:

• SLATE (properly CLAY SLATE; in M. Eng. slat or sclat, from O. Fr. esclat, a small piece of wood used as a tile; esclater, to break into pieces, whence modern Fr. eclat, the root being seen also in Ger. schleissen, to split)

Slate Quarries "; the " See also:

• ITALIAN

Italian Boulevards "; and the " Fishmarket at See also:

• BOULOGNE, or BOULLONGNE

Boulogne." He executed a See also:

• GOOD, JOHN MASON (1764-1827)

good many etchings, and the great See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm of these is in the beautiful and faithful See also:

• REPRESENTATION

representation of trees . Crome enjoyed a very limited reputation during his life, and his pictures were sold at See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

low prices; but since his See also:

• DEATH

death they have been more and more appreciated, and have given him a high See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place among English painters of landscape . He died at Norwich on the 22nd of See also:

• APRIL

April 1821 . His son, J .

B . Crome, was his assistant in teaching, and his best pictures were in the same See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, his moonlight effects being much admired . A collection of " Old " Crome's etchings, entitled See also:

• NORFOLK
• NORFOLK, EARLS AND DUKES OF

Norfolk Picturesque Scenery, was published in 1834, and was re-issued with a memoir by See also:

• DAWSON, GEORGE (1821-1876)
• DAWSON, SIR JOHN WILLIAM (1820-1899)

Dawson See also:

• TURNER, CHARLES (1773–1857)
• TURNER, JOSEPH MALLORD WILLIAM (1775–1851)
• TURNER, NAT (1800-1831)
• TURNER, SHARON (1768-1847)
• TURNER, SIR JAMES (1615–1686)
• TURNER, WILLIAM (d. 1568)

Turner in 1838, but in this issue the prints were retouched by other hands .