Page:EB1911 - Volume 08.djvu/188

 Oceans they exist in prodigious numbers. They thus form a large proportion of both the marine and the fresh-water plankton.

Large numbers of fossil diatoms are known. Not only are these minute plants assisting at the present time in the accumulation of oceanic and lake deposits, but in former ages they have been sufficiently active to give rise to considerable deposits of diatomaceous earths. When the plant has fulfilled its natural course the siliceous covering sinks to the bottom of the water in which it had lived, and there forms part of the sediment. When in the process of ages, as it has often happened, the accumulated sediment has been hardened into solid rock, the siliceous frustules of the diatoms remain unaltered, and, if the rock be disintegrated by natural or artificial means, may be removed from the enveloping matrix and subjected to examination under the microscope. The forms found may from their character help in some degree to illustrate the conditions under which the stratum of rock had been originally deposited. These earths are generally of a white or grey colour. Some of them are hard, but most are soft and friable. Many of them are of economic importance, being used as polishing powders (“Tripoli”), as absorbents for nitroglycerin in the manufacture of dynamite (“Kieselguhr”), as a dentifrice, and more recently they have been used to a large extent in the manufacture of non-conducting and sound-proof materials. Most of these diatomaceous earths are associated with rocks of Tertiary formations, although it is generally regarded that the earliest appearance of diatoms is in the Upper Cretaceous (chalk).

Vast deposits of Diatomaceous earths have been discovered in various parts of the world,—some the deposit of fresh, others of salt water. Of these deposits the most remarkable for extent, as well as for the number and beauty of the species contained in it, is that of Richmond, in Virginia, one of the United States of America. It extends for many miles, and is in some places at least 40 ft. deep. It is a remarkable fact that though the generations of a diatom in the space of a few months far exceed in number the generation of man during the period usually assigned to the existence of the race, the fossil genera and species are in most respects to the most minute details identical with the numerous living representatives of their class.

 DIAULOS (from Gr., double, and  , pipe), in architecture, the peristyle round the great court of the palaestra, described by Vitruvius (v. II), which measured two stadia (1200 ft.) in length; on the south side this peristyle had two rows of columns, so that in stormy weather the rain might not be driven into the inner part. The word was also used in ancient Greece for a foot-race of twice the usual length.

 DIAVOLO, FRA (1771–1806), the popular name given to a famous Italian brigand associated with the political revolutions of southern Italy at the time of the French invasion. His real name was Michele Pezza, and he was born of low parentage at Itri; he had committed many murders and robberies in the Terra di Lavoro, but by good luck combined with audacity he always escaped capture, whence his name of Fra Diavolo, popular superstition having invested him with the characters of a monk and a demon, and it seems that at one time he actually was a monk. When the kingdom of Naples was overrun by the French and the Parthenopaean Republic established (1799), Cardinal Ruffo, acting on behalf of the Bourbon king Ferdinand IV., who had fled to Sicily, undertook the reconquest of the country, and for this purpose he raised bands of peasants, gaol-birds, brigands, &c., under the name of Sanfedisti or bande della Santa Fede (“bands of the Holy Faith”). Fra Diavolo was made leader of one of them, and waged untiring war against the French troops, cutting off isolated detachments and murdering stragglers and couriers. Owing to his unrivalled knowledge of the country, he succeeded in interrupting the enemy’s communications between Rome and Naples. But although, like his fellow-brigands under Ruffo, he styled himself “the faithful servant and subject of His Sicilian Majesty,” wore a military uniform and held military rank, and was even created duke of Cassano, his atrocities were worthy of a bandit chief. On one occasion he threw some of his prisoners, men, women and children, over a precipice, and on another he had a party of seventy shot. His excesses while at Albano were such that the Neapolitan general Naselli had him arrested and imprisoned in the castle of St Angelo, but he was liberated soon after. When Joseph Bonaparte was made king of Naples, extraordinary tribunals were established to suppress brigandage, and a price was put on Fra Diavolo’s head. After spreading terror through Calabria, he crossed over to Sicily, where he concerted further attacks on the French. He returned to the mainland at the head of 200 convicts, and committed further excesses in the Terra di Lavoro; but the French troops were everywhere on the alert to capture him and he had to take refuge in the woods of Lenola. For two months he evaded his pursuers, but at length, hungry and ill, he went in disguise to the village of Baronissi, where he was recognized and arrested, tried by an extraordinary tribunal, condemned to death and shot. In his last moments he cursed both the Bourbons and Admiral Sir Sidney Smith for having induced him to engage in this reckless adventure (1806). Although his cruelty was abominable, he was not altogether without generosity, and by his courage and audacity he acquired a certain romantic popularity. His name has gained a world-wide celebrity as the title of a famous opera by Auber.

 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 Sèvres, 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 Sèvres, 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 Théodore 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 constantly and successfully. In 1876 he caught cold at his son’s grave, and on the 18th of November of that year he died at Mentone, whither he had gone to recruit his health. Diaz’s finest pictures are his forest scenes and storms, and it is on these, and not on his pretty figures, that his fame is likely to rest. There are several fairly good examples of the master in the Louvre, and three small figure pictures in the Wallace collection, Hertford House. Perhaps the most notable of Diaz’s works are “La Fée aux Perles” (1857), in the Louvre; “Sunset in the Forest” (1868); “The Storm,”