In the noble art of etching Anna and Susannah Lister were regarded as having much skill; they illustrated a work on natural history by their father, in the manner of Madame Merian, by their artistic efforts.
A lady connoisseur and engraver of much taste was the Countess of Carlisle. She perhaps set the fashion afterward followed by so many fair dilettanti, who exercised so much influence in England during the succeeding century.
Susan Penelope Rose, according to Lord Orford, was the daughter of Richard Gibson the Dwarf. She married a jeweler, and became noted for painting portraits in water colors with great freedom. Her miniatures were larger than usual. She died at forty-eight in 1700.
A contemporary of Vandyck was Mrs. Anna Carlisle, who died about 1680. She was celebrated for her copies of the Italian masters. Charles I. esteemed her highly. She once shared with Vandyck a present from their royal patron, of ultramarine; it is said to have cost the king five hundred pounds. This renders it probable that she painted in oil; for the quantity was too large for use in miniatures.
One of her works represents herself teaching a lady to paint. This artist must not be confounded with the Countess of Carlisle, who was distinguished for her beautiful engravings of the works of Salvator Rosa, Guido, etc.
MARY BEALE,
the daughter of Mr. Craddock, a clergyman, was born at Suffolk about 1632. She received some instruction from Walker, but was a favorite pupil of Sir Peter Lely. She painted in oil, water-colors, and crayons. She acquired much of the Italian style by copying old pictures from Lely’s and the royal collection. She copied some of the portraits of Vandyck. Her works were remarkable for vigor of drawing and fresh coloring, with great purity and sweetness. The artist was an estimable and amiable woman; was highly respected, and mingled in the society of the noble and the learned. Her pencil was employed by many personages of distinction. Her husband was an inferior painter.
It was rumored that Sir Peter Lely was romantically attached to his fair pupil; but his love could not have met with return, for he is known to have been reserved in communicating to her the resources of his pencil. He refused to intrust to her one of the important secrets of his art.
Several poems in praise of Mrs. Beale were published; one in particular is remembered, by Dr. Woodfall, in which she is celebrated under the name of “Belasia.” Her husband, Charles Beale, had the curious practice of noting in small almanac pocket-books almost daily accounts of whatever related to his wife, her pictures, or himself. He practiced chemistry for the preparation of colors. He bequeathed thirty of the almanacs, filled with his notes, and records of the praises lavished on his wife’s pictures, to a colorman named Carter.
Walpole says Mrs. Beale’s portraits were numerous. She painted one of Otway, the poet. The Archbishop Tillotson was her patron, and many of the clergy sat to her. The archbishop’s portrait is the first of an ecclesiastic who, quitting the coif of silk, is delineated in a brown wig.