See also:

• ABRAHAM, or ABRAM (Hebrew for " father is high ")

ABRAHAM See also:

• VAN

VAN See also:

• ABRAHAM VAN DIEPENBECK (1599-1675)

DIEPENBECK (1599-1675)  , Flemish painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Herzogenbusch, and studied See also:

• PAINTING

painting at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp, where he became one of See also:

• RUBENS, PETER PAUL (1577-164o)

Rubens's " See also:

• HUNDRED

hundred pupils." But he was not one of the cleverest of Rubens's followers, and he succeeded, at the best, in imitating the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and aping the peculiarities of his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master . We see this in his earliest pictures—a portrait dated 1629 in the See also:

• MUNICH (Ger. Munchen)

Munich Pinakothek, and a " See also:

• DISTRIBUTION (Lat. distribuere, to deal out)

Distribution of See also:

• ALMS

Alms " of the same See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period in the same collection . Yet even at this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time there were moments when See also:

• DIEPENBECK, ABRAHAM VAN (1599-1675)

Diepenbeck probably fancied that he might take another path . A solitary copperplate executed with his own See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand in 163o represents a See also:

• PEASANT (O. Fr. paysant, Mod. paysan; Lat. pagensis, belonging to the pagus or country; cf. " pagan ")

peasant sitting under a See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

tree holding the bridle of an See also:

• ASS (O.E. assa; Lat. asinus)
• ASS, FEAST OF THE

ass, and this is a See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute and finished specimen of the engraver's See also:

• ART

art which shows that the master might at one time have hoped to See also:

• RIVAL

rival the See also:

• ANIMAL
• ANIMAL (Lat. animalis, from anima, breath, soul)

animal See also:

• DRAUGHTS (from AS. dragan, to draw)

draughts-men who flourished in the See also:

• SCHOOLS

schools of See also:

• HOLLAND
• HOLLAND, CHARLES (1733–1769)
• HOLLAND, COUNTY AND PROVINCE OF
• HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
• HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
• HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
• HOLLAND, JOSIAH GILBERT (1819-1881)
• HOLLAND, PHILEMON (1552-1637)
• HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
• HOLLAND, SIR HENRY, BART

Holland . However, large commissions now poured in upon him; he was asked for See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-pieces, subject-pieces and See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan allegories . He was tempted to try the profession of a See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

glass-painter, and at last he gave up every A B C D ...... . other occupation for the lucrative business of a draughtsman and designer for engravings . Most of Diepenbeck's important can-vases are in See also:

• CONTINENTAL

continental galleries . The best are the" See also:

• MARRIAGE

Marriage of St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine " at See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin and " See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary with Angels Wailing over the Dead See also:

• BODY

Body of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ " in the See also:

• BELVEDERE, or BELVIDERE (Ital. for " fair-view ")

Belvedere at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, the first a very See also:

• FAIR

fair specimen of the artist's skill, the second a picture of more See also:

• ENERGY (from the Gr. ivipyela; iv, in, ipyov, work)

energy and feeling than might be expected from one who knew more of the See also:

• OUTER

outer See also:

• FORM (Lat. forma)

form than of the spirit of Rubens . Then we have the See also:

• FINE

fine "Entombment" at See also:

• BRUNSWICK
• BRUNSWICK (Ger. Braunschweig)
• BRUNSWICK, KARL WILHELM FERDINAND, DUKE OF (1735-18o6)

Brunswick, and "St See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis Adoring the See also:

• SACRAMENT

Sacrament " at the museum at See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, " Clelia and her See also:

• NYMPHS

Nymphs Flying from the Presence and Pursuit of Porsenna " in two examples at Berlin and See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and " See also:

• NEPTUNE
• NEPTUNE (Lat. NEPTUNUS)

Neptune and See also:

• AMPHITRITE

Amphitrite" at See also:

• DRESDEN

Dresden . In all these compositions the See also:

• DRAWING

drawing and See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution are after the See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion of Rubens, though inferior to Rubens in See also:

• HARMONY (Gr. dpµovia, a concord of musical sounds, dpA'ew to join; &plan midi (sc. TeXvil)

harmony of See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone and force of contrasted See also:

• LIGHT

light and shade . Occasionally a tendency may be observed to imitate the style of Vandyck, for whom, in respect of pictures, Diepenbeck in his lifetime was frequently taken .

But Diepenbeck spent much less of his leisure on canvases than on glass-painting . Though he failed to master the secrets of gorgeous tinting, which were lost, apparently for ever in the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, he was constantly employed during the best years of his See also:

• LIFE

life in that See also:

• BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of his profession . In 1635 he finished See also:

• FORTY

forty scenes from the life of St Francis of Paula in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of the Minimes at Antwerp . In 1644 he received See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment for four windows in St Jacques of Antwerp, two of which are still preserved, and represent Virgins to whom Christ appears after the Resurrection . The windows ascribed to him at St Gudule of Brussels were executed from the cartoons of See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore See also:

• VAN

van Thulden . On the occasion of his matriculation at Antwerp in 1638–1639, Diepenbeck was registered in the guild of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke as a glass-painter . He resigned his membership in the Artist See also:

• CLUB (connected with " clump ")

Club of the Violette in 1542, apparently because he See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt hurt by a valuation then made of drawings furnished for copperplates to the engraver Pieter de _lode . The earliest reccrd of his See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence at Antwerp is that of his See also:

• ELECTION
• ELECTION (from Lat. eligere, to pick out)

election to the brotherhood (Sodalitat) " of the Bachelors " in 1624 . It is probable that before this time he had visited See also:

• ROME
• ROME (Roma)

Rome and See also:

• LONDON

London, as noted in the See also:

• WORK

work of See also:

• HOUBRAKEN, JACOBUS (1698–178o)

Houbraken . In 1636 he was made a See also:

• BURGESS (Med. Lat. burgensis, from burgus, a borough, a town)
• BURGESS, DANIEL (1645-1713)
• BURGESS, THOMAS (1756–1837)

burgess of Antwerp . He married twice, in 1637 and 1652 . He died in See also:

• DECEMBER (Lat. decent, ten)

December '675, and was buried at St Jacques of Antwerp .