e, 1848); B. Amante's _Fra
Diavolo e il suo tempo_ (Florence, 1904) is an attempted
rehabilitation; but A. Luzio, whose account in _Profili e bozzetti
storici_ (Milan, 1906) gives the latest information on the subject,
has demolished Amante's arguments. (L. V.*)

DIAZ, NARCISSE VIRGILIO (1808-1876), French painter, was born in
Bordeaux of Spanish parents, on the 25th of August 1808. At first a
figure-painter who indulged in strong colour, in his later life Diaz
became a painter of the forest and a "tone artist" of the first order.
He spent much time at Barbizon; and although he is the least exalted of
the half-dozen great artists who are usually grouped round that name, he
sometimes produced works of the highest quality. At the age of ten Diaz
became an orphan, and misfortune dogged his earlier years. His foot was
bitten by a reptile in Meudon wood, near Sevres, where he had been taken
to live with some friends of his mother. The bite was badly dressed, and
ultimately it cost him his leg. Afterwards his wooden stump became
famous. At fifteen he entered the studios at Sevres, where the
decoration of porcelain occupied him; but tiring of the restraint of
fixed hours, he took to painting Eastern figures dressed in richly
coloured garments. Turks and Oriental scenes attracted him, and many
brilliant gems remain of this period. About 1831 Diaz encountered
Theodore Rousseau, for whom he entertained a great veneration, although
Rousseau was four years his junior; but it was not until ten years later
that the remarkable incident took place of Rousseau teaching Diaz to
paint trees. At Fontainebleau Diaz found Rousseau painting his wonderful
forest pictures, and determined to paint in the same way if possible.
Rousseau, then in poor health, worried at home, and embittered against
the world, was difficult to approach. Diaz followed him surreptitiously
to the forest,--wooden leg not hindering,--and he dodged round after the
painter, trying to observe his method of work. After a time Diaz found a
way to become friendly with Rousseau, and revealed his anxiety to
understand his painting. Rousseau was touched with the passionate words
of admiration, and finally taught Diaz all he knew. Diaz exhibited many
pictures at the Paris Salon, and was decorated in 1851. During the
Franco-German War he went to Brussels. After 1871 he became fashionable,
his works gradually rose in the estimation of collectors, and he worked
cons