- nowhere, being a kind of Utopia (a short account of the contents is given by Watt).
- ‘The Second Part and knitting up of the Booke entituled Too Good to be True, wherein is continued the Wonderful Lawes, etc. of the people of Mauqsun,’ 1581, 4to (b.l.) dedicated to ‘Sir William Cicill.’ This part contains a story similar to the plot of ‘Measure for Measure.’ (Both this and the preceding are scarce. See Heber, Cat. of Early English Poetry, and Lowndes.)
- ‘A Persuasion from Papistrie. Written chiefly to the obstinate, determined, and disobedient English Papists, who are herein named and proued English Enimies, and extreme Enimies to England,’ 1581, 4to.
- ‘The Christian against the Jesuite, wherein the secrete or namelesse writer of a pernitious booke intituled A Discouerie of I[ohn] Nicolls [q. v.], Minister, priuily printed, couertly cast abrod, and secretly solde is not only justly reprooued: But also a booke dedicated to the Queene's Maiestie, called a Persuasion from Papistrie, therein derided and falsified, is defended by Thomas Lupton. At the Black Beare,’ 1582, 4to (b.l.) (see Arber, Stationers' Registers, ii. 187 b). Dedicated to Sir Francis Walsingham.
- ‘A Dreame of the Devill and Dives. Most terrible and fearefull to the seruants of Sathan, but right comfortable and acceptable to the Children of God. Licensed 6 May 1583 “provided he get the Bishop of London's allowance to it.” Printed for Henry Car at the signe of the Cat and Fidle’ [1584], 8vo (b.l.); copy in the Lambeth Library perhaps unique; 2nd edit. 1615, 8vo. Both editions are dedicated to Francis, earl of Bedford.
Lupton contributed some alexandrines to John Jones's ‘Benefit of the Auncient Bathes of Buckstones’ (1572) which precede ‘A prayer usually to be say'd before bathing,’ and commendatory verses to Barnaby Riche's ‘Allarme to England,’ 1578. A detailed scheme of a philanthropic kind by Lupton is in the Bodleian (MS. Jones 17).
[Collier's Bibl. Cat. i. 498; Fleay's Chron. English Drama, 1559–1642; Ames's Typogr. Antiq., ed. Herbert, pp. 986, 1008, 1079, 1108, 1338; Arber's Stationers' Reg. ii. passim; Watt's Bibl. Brit. p. 623; Hazlitt's Bibliographer's Handbook; Addit. MS. 24487, f. 178 (Hunter's Chorus Vatum); Cat. of Malone's Books in Bodleian; Dibdin's Library Companion, ii. 385; Gent. Mag. 1821, i. 123.]
LUPTON, THOMAS GOFF (1791–1873), engraver, born in Clerkenwell, London, on 3 Sept. 1791, was son of William and Mary Lupton. His father, a working goldsmith, apprenticed him to George Clint [q. v.], by whom he was instructed in mezzotint engraving. Later he became assistant to Samuel William Reynolds [q. v.], and when Samuel Cousins [q. v.] was articled to the latter in 1814 Lupton gave him his first lesson. Between 1811 and 1820 he exhibited a few crayon portraits at the Royal Academy. Lupton was the youngest of the engravers employed by Turner upon the ‘Liber Studiorum,’ and he executed four of the best of the published and several of the unpublished plates. To Lupton is mainly due the introduction of steel for mezzotint engraving. Desiring to discover a substitute for copper which would be more durable, he made experiments on plates of nickel, the Chinese alloy called tutenag, and steel, and, deciding upon the last, used it for a successful portrait of Munden the actor, after Clint. In 1822 he received the Isis medal of the Society of Arts for his application of soft steel to the purpose, and exhibited good impressions from a plate which had already yielded fifteen hundred; all his subsequent works were produced on steel. In 1825 six plates by Lupton, after Turner, were published with the title ‘Views of the Ports of England,’ and these were reissued in 1856, with six more by Lupton, as ‘The Harbours of England,’ with text by J. Ruskin; he also engraved many of the plates for ‘Gems of Art,’ 1823, ‘Beauties of Claude,’ 1825, Turner and Girtin's ‘River Scenery of England,’ 1827, and Lady Charlotte Bury's ‘The Three Great Sanctuaries of Tuscany,’ 1833. Among his best single plates are: ‘The Infant Samuel,’ after Reynolds; ‘Belshazzar's Feast,’ after Martin; ‘Wellington surveying the Field of Waterloo,’ after Haydon; ‘The Eddystone Lighthouse’ and ‘Fishing at Margate,’ after Turner; some theatrical groups after G. Clint, and portraits after Sir Thomas Lawrence, Henry Perronet Briggs, Thomas Phillips, Watson Gordon, and others. Lupton commenced, under Turner's direction, a large plate from his picture of ‘Calais Pier,’ but in consequence of the frequent alterations made by the painter it was never completed.
Between the years 1858 and 1864 Lupton re-engraved fifteen of the ‘Liber Studiorum’ subjects for a series which it was intended to issue in parts, but the project failed and the plates remained unpublished. Lupton was an active supporter of the Artists' Annuity Fund, of which he was elected president in 1836. He died at 4 Keppel Street, Russell Square, London, where he had resided for thirty-six years, on 18 May 1873. By his marriage in 1818 to Miss Susanna Oliver he had a family of six sons and one daughter. His youngest son, Nevil Oliver Lupton, born in 1828, gained the ‘Turner’ gold medal of the Academy at the first competition in 1857,
