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‘Mr. Holman's, St. George's, Middlesex,’ in the former year ‘A Sunset, with a View of Westminster from the Surrey side,’ and ‘A distant View of the Island of Madeira and Porto Santo,’ and in the latter year ‘A Storm and Shipwreck.’ In 1780 he exhibited at the Royal Academy ‘A Privateer Cutter,’ and was an occasional exhibitor there up to 1793. In 1802 he sent a painting of ‘The Battle of the Nile.’ It seems probable that Luny served continually on board ship for various periods up to 1810, when he was incapacitated by paralysis. He then settled on a pension at Teignmouth in Devonshire, where, in spite of his paralysis and increasing deformity in his hands from creeping rheumatism, he continued to practise as a painter up to the time of his death. He was a very familiar figure on the shore at Teignmouth, and from the veteran naval officers who made that place their home he received much encouragement and many commissions. He was able to build a house in Teign Street, Teignmouth, which still bears the name of Luny House. He died there on 30 Sept. 1837, and was buried in West Teignmouth churchyard, leaving a fair competence to a favourite niece. Luny had great merits as a marine painter, his drawing of shipping being free and accurate, his colouring harmonious, and his composition easy. The majority of his works are in Devonshire, mostly in private possession at Teignmouth or Exeter. At Canonteign, near Exeter, the seat of Lord Exmouth, there are an important series of paintings by Luny representing the principal events of Lord Exmouth's naval career, including ‘The Siege of Algiers.’ A few of his paintings were engraved, including ‘The Burning of the Spanish Batteries before Gibraltar’ and ‘Admiral Rodney's Action off Cape St. Vincent’ (by J. Fittler). There is a good example of his painting of shipping at the Foundling Hospital in London. In June 1837 a collection of 130 paintings by Luny was exhibited in Bond Street (see Literary Gazette, 24 June 1837).

[Transactions of the Devonshire Association for the Advancement of Science, Literature, and Art, xviii. 442, with a detailed list of 295 works; ib. xix. 107; Seguier's Dict. of Painters; Redgrave's Dict. of Artists.]

L. C.

LUPO or LUPUS, THOMAS, the elder (d. 1628?), musician, was son of Josepho Lupo, one of Queen Elizabeth's musicians. The father was living in Blackfriars in 1571, and was officially described in a return of strangers as a Venetian and musician (Notes and Queries, 2nd ser. viii. 448). His name appears in the third place in a list of the royal bandsmen dated 1 Jan. 1579, being immediately preceded apparently by his brothers, Ambrosio Lupo ‘de Milan,’ who came to England in 1559 and died in 1596 (cf. Hatfield MSS. pt. iv. 19), and by Petro Lupo. The son Thomas seems to have joined the queen's band some years before 1600, when his name follows his father's on a list of New-year's gifts presented by Elizabeth to her attendants. In a similar list for 1606 ‘Thomas Lupo, senior,’ figures again. About May 1628 Robert Johnson applied for the post of composer to the lutes and voices at court which he described as vacant owing to the death apparently of Thomas Lupo the elder.

Lupo, Thomas, the younger (fl. 1598–1641), was probably first cousin of the above, being the son of Petro Lupo, at one time in the service of Leicester, Queen Elizabeth's favourite, and afterwards (1 Jan. 1579) one of the queen's musicians. It is very difficult to distinguish between the elder and younger Thomas Lupo. The younger, apparently, was at midsummer 1598 appointed one of her majesty's violins at a salary of 20d. a day, besides 16l. 2s. 6d. for liveries—a sum exceeding that received by Petro his father at the same time. In the list of New-year's presents on 1 Jan. 1600 Petro's son is accorded a much lower place than the elder Thomas, and both figure in a similar list for 1606, being distinguished as senior and junior. The younger appears to have become one of the musicians of Prince Henry (Nichols, Progresses of James I). In 1610 Prince Henry's band of musicians was headed by Dr. John Bull, after whom came Thomas Lupo. In the following year he had fallen to the third place on the list. The first ten musicians, including Dr. Bull, received each of them 40l. a year. In 1622 Thomas Lupo was twice reduced to the necessity of petitioning the Prince of Wales for advances amounting in all to 50l. In the list of royal musicians at the accession of Charles I he occupies the sixth place, being preceded by Nicholas Laniere, T. Ford, A. Johnson, T. Day, and Alfonso Ferrabosco, and on 13 Jan. 1628 he wrote to Edward Nicholas, begging him to remind the Duke of Buckingham to give his son a purser's place, and offering a bribe of 30l. Late in 1628 Stephen Nau succeeded Lupo at court as composer for the violin. By a warrant dated 1 Dec. 1628 his pension of 40l. was continued to his son Theophilus, also one of his majesty's violins. Both he and Theophilus were living in 1641. Many compositions are assigned to Thomas Lupo, but it is impossible to determine to which of the two each belongs. In 1607 Thomas Lupo wrote, in conjunction with