Of more distinguished ability was Mary Beale (1637-1697),[142] who is said to have studied either with Sir Peter Lely or Robert Walker. At least she watched Lely paint and thereby gained some of his technique. She worked in oils, water-colors, and crayons. Through Sir Peter Lely she was given access to some of the best works of Van Dyck and in copying these gained a training somewhat similar to that given most artists by sojourns in Italy or Holland. There are in the English National Portrait Gallery portraits by her of Charles II and Abraham Cowley. At Knole is her portrait of John Milton; at Woburn Abbey, one of the Duke of Monmouth; Archbishop Tillotson, Henry, Duke of Norfolk, Dr. Sydenham, Dr. Croone, Bishop Wilkins, are among those who sat to her. No other English portrait-painter of the period had so distinguished a clientèle or is represented by so many canvases in English galleries. Her success may be measured, in part, by her financial returns. In a pocket-book kept by her husband in 1672 is this entry: "Received this year, for pictures done by my dearest heart, 202_l._ 5_s._" The receipts for 1674 were 216_l._ 5_s._; and for 1677, 429_l._ She was still painting important portraits in 1691, for we find in the _Term Catalogue_ for Michaelmas of that year the announcement of "The true Effigies of his Grace, John, Lord Archbishop of Canterbury. Engraven by Rob. White on a large sheet of Paper, from the Original lately painted by Mrs. Mary Beale." According to the manuscript of Mr. Oldys, Mrs. Beale was also celebrated for her poetry. He styles her, "that masculine poet, as well as Painter, the incomparable Mrs. Beale." Dr. Woodford included in his translations of the Psalms several versions by Mrs. Beale whom he eulogizes as "an absolutely compleat Gentlewoman," and to whom he wrote several poems under the name "Beliza."[143]