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collection. Yet even at this time there were moments when Diepenbeck probably fancied that he might take another path. A solitary copperplate executed with his uwu hand in 1630 represents a peasant sitting under a tree holding the bridle of an ass, aud this is a minute and finished specimen of the engraver s art which shows that the master might at one time have hoped to rival the animal draughtsmen who flourished in the schools of Holland. However, large commissions now poured in upon him ; he was asked for altar-pieces, subject-pieces, and pagan allegories. He was tempted to try the profession of a glass-painter, and at last he gave up every other occupation for the lucrative business of a draughtsman and designer for engravings. Most of Diepeubeck s important can vases are in Continental galleries. The best are the Marriage of St Catherine at Berlin, and Mary with Angels Wailing over the Dead Body of Christ in the Belve dere at Vienna, the first a very fair specimen of the artist s skill, the second a picture of more energy and feeling than might be expected from one who knew more of the outer form than of the spirit of llubens. Then we have a fine Entombment at Brunswick, and St Francis Adoring the Sacrament at the museum of Brussels, Clelia aud her Nymphs Flying from the Presence and Pursuit of Porsenuaintwo examples at Berlin and Paris, and Neptune and Amphitrite at Dresden. In all these compositions the dra.vingand execution are after the fashion of Eubens, though inferior to llubens in harmony of tone and force of contrasted 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 fre quently taken. But Diepeubeck 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 century, he was constantly employed during the best years of his life in that branch of his profession. In 1635 he finished forty scenes from the life of St Francis of Paula in the church of the Minimes at Antwerp. In 1044 he received payment for four windows in St Jacques of Antwerp, two of which are still preserved, and represent the Virgins to whom Christ appears after the Insurrection. The windows ascribed to him at St Gudule of Brussels are now proved to have been executed from the cartoons of Theodore van Thulden. On the occasion of his matricula tion at Antwerp in 1638-9, Diepenbeck was registered in the guild of St Luke as a glass-painter. He resigned his membership in the Artist Club of the Violette in 1542, apparently because he felt hurt by a valuation then made of drawings furnished for copper-plates to the engraver Pieter de Jode. The earliest record of his residence at Antwerp is that of his election to the brotherhood (Soda- litat) "of the Bachelors" in 1634. It is probable that before this time he had visited Home and London, as noted in the work of Houbraken. In 1636 he was made a burgess of Antwerp. He married twice, in 1637 and 1652. His death took place in December 1675, and his funeral was celebrated at St Jacques of Antwerp on the 31st

day of that mouth.

Consult, besides earlier authorities, the Antwerp Liggeren.

DIEPPE, a seaport town of France, at the head of an arrondissement in the department of Seine-Inférieure, 38 miles north of Rouen and 125 north-west of Paris by rail, in 49° 55′ 35″ N. lat. and 1° 5′ 9″ E. long. It lies at the mouth of the River Arques, in a hollow of the coast,—the main part of the town being on the west side of the river, and the suburb of Pollet on the east. Its principal street stretches for about a mile along the shore, and terminates in the west at the foot of the chalk cliff, which is surmounted by a castle of the 15th century, now employed as barracks. The whole town has a modern aspect; its streets are wide and regular, and its houses mostly built of brick. The principal building is the church of St Jacques, which was founded in the 13th century, but consists in good measure of considerably later workmanship, and has in some portions been restored in the present century; the main entrance (of the 14th century) and the Ango chapel are worthy of special remark. It is sufficient to mention the church of St Remi (1522–1640), the town-house, the hospital, the theatre, and the communal college which preserves some fragments of Ango's mansion. As the chief town of an arrondissement, and an important seaport, Dieppe is the seat of a large number of public offices. Its harbour, which has been greatly improved during the present century, is protected by two piers, admits vessels of 500 tons burden, and has a large floating dock. There is regular steamboat communication with England, the passage to Newhaven being accomplished in about six hours. The general trade of the town, both export and import, is extensive; and it carries on ship-building, rope-spinning, cooperage, watchmaking, and a remarkable manufacture of articles in ivory and bone, which dates from the 15th century. The tobacco factories alone employ upwards of 1000 work people. Oysters in large numbers are fattened in the retenue des chasses; and the fishermen of Pollet are among the main providers of the Parisian markets. Ever since the time of the duchess of Berry (whose favourite residence, the maison Quenouille, is still pointed out) the town has been a fashionable watering-place; and in 1857 a large bathing establishment was erected after the model of the Crystal Palace. The so-called Jardin Anglais, the Cours Bourbon, and the cliffs are the principal promenades: and the castle of Arques, the Manoir d'Ango, the abbey of St Victor, and the ancient camp, locally known as la cité des Limes, are the most interesting objects of interest in the neighbourhood. Population in 1851, 16,216; and in 1872, 19,757.

Plan of Dieppe.

1. Church of Pollet. 2. Bourse. 3. Statue of Duquesne. 4. Church of St Jacques. 5. Hôtel de Ville. 6. Theatre. 7. Church of St Remi. 8. Bazaar. 9. Protestant Church.

It may be safely asserted, on the authority of its name, that Dieppe owed its origin to a band of Norman adventurers, who found its “diep” or inlet suitable for their ships. Its first castle was probably built in 1188 by Henry II. of England, and it was counted a place of some importance when Philip Augustus attacked it in 1195. By Richard I. of England it was bestowed, in 1197, on the archbishop of Rouen in return for certain territory in the neighbourhood of the episcopal city. In 1339 it was plundered by the English, but it soon recovered from the blow, and in spite of the opposition of the Lords of Hantot, managed to surround itself with fortifications. Its commercial activity was already great, and it is believed its seamen visited the coast of Guinea in 1339, and founded there a Petit Dieppe in 1365. A siege undertaken in 1442 by Talbot in person was raised by the Dauphin, afterwards Louis XI., and the day of the deliverance continued for centuries to be celebrated by a great procession and miracle plays. In the beginning of the 16th century we find Parmentier, a native of the