She was born in the Villa Clermont, Lausanne, Switzerland, a country beautiful enough to inspire artistic sentiments in all its inhabitants. Her father, Thomas James Thompson, a man of great culture and refinement, educated at Trinity College, Cambridge, was a warm friend of Charles Dickens, Lord Lytton, and their literary associates. Somewhat frail in health, he travelled much of the time, collecting pictures, of which he was extremely fond, and studying with the eye of an artist the beauties of each country, whether America, Italy, or France.
His first wife died early, leaving one son and daughter. The second wife was an enthusiastic, artistic girl, especially musical, a friend of Dickens, and every way fitted to be the intelligent companion of her husband.
After the birth of Elizabeth, the family resided in various parts of Southern Europe. Now they lived, says Mrs. Alice Meynell, her only sister, in the January, 1883, St. Nicholas, "within sight of the snow-capped peaks of the Apennines, in an old palace, the Villa de Franchi, immediately overlooking the Mediterranean, with olive-clad hills at the back; on the left, the great promontory of Porto Fino; on the right, the Bay of Genoa, some twelve miles away, and the long line of the Apennines sloping down into the sea. The palace garden descended, terrace by terrace, to the rocks, being, indeed, less a garden than what is called a villa in the Liguria, and a podere in Tuscany,--a fascinating mixture of vine, olive, maize, flowers, and corn. A fountain in marble, lined with maiden-hair, played at the junction of each flight of steps. A great billiard-room on the first floor, hung with Chinese designs, was Elizabeth Thompson's first school-room; and there Charles Dickens, upon one of his Italian visits, burst in upon a lesson in multiplication.
"The two children never went to school, and had no other teacher than their father,--except their mother for music, and the usual professors for 'accomplishments' in later years. And whether living happily in their beautiful Genoese home, or farther north among the picturesque Italian lakes, or in Switzerland, or among the Kentish hop-gardens and the parks of Surrey, Elizabeth's one central occupation of drawing was never abandoned,--literally not for a day."
She was a close observer of nature, and especially fond of animals. When not out of doors sketching landscapes, she would sit in the house and draw, while her father read to her, as he believed the two things could be carried on beneficially.
She loved to draw horses running, soldiers, and everything which showed animation and energy. Her educated parents had the good sense not to curb her in these perhaps unusual tastes for a girl. They saw the sure hand and broad thought of their child, and, no doubt, had expectations of her future fame.
At fifteen, as the family had removed to England, Elizabeth joined the South Kensington School of Design, and, later, took lessons in oil painting, for a year, of Mr. Standish. Thus from the years of five to sixteen she had studied drawing carefully, so that now she was ready to touch oil-painting for the first time. How few young ladies would have been willing to study drawing for eleven years, before trying to paint in oil!
The Thompson family now moved to Ventnor, in the Isle of Wight, staying for three years at Bonchurch, one of the loveliest places in the world. Ivy grows over walls and houses, roses and clematis bloom luxuriantly, and the balmy air and beautiful sea make the place as restful as it is beautiful. Here Elizabeth received lessons in water-color and landscape from Mr. Gray.
After another visit abroad the family returned to London, and the artist daughter attended the National Art School at South Kensington, studying in the life-class. The head master, Mr. Richard Burchett, saw her talent, and helped her in all ways possible.
Naturally anxious to test the world's opinion of her work, she sent some water-colors to the Society of British Artists for exhibition, and they were rejected. There is very little encouragement for beginners in any profession. However, "Bavarian Artillery going into Action" was exhibited at the Dudley Gallery, and received favorable notice from Mr. Tom Taylor, art critic of the Times.