DIAZ. aio DIAZEUCTIC TONE. to win Uie confidence ot" European investors, the country was upeneil up, industries were devel- oped, and the modem period of prosperity was lirnily established. As the Mexican Constitution provided that no man should hold the ollice ot President for two consecutive terms, (.^neral Diaz was succeeded in 18S0 by his close personal friend. General (.ionzalcz. It soon became evi- dent, however, that only one man could win the trust and support of the Mexican people and of the foreign capitalists upon whom the welfare of the nation depended, and so, after Diaz had been again elected President in 1SS4. the Consti- tution was amended, in order to provide for his continuance in that ollice. The forms of election by popular vote have been duly complied with at each rc>curring period since, but no serious oppo- sition to 'Don Porlirio,' as he is atlectionatcly tailed by the Me.ican populace, has developed. DIAZ, de'iUh, Ruv, roa^ (1503-381. A Span- ish soldier, born at Seville, Spain. In 1532 he ac- companied the exix>dition of Diego de Almagro to Peru, participated in the cai)ture of Cuzco ( 1534) and displayed remarkable skill and cour- age in his encounters with the Indians. He was subsequently selected by Pizarro to choose the site of a city to serve as the capital of the prov- ince, and thus became the foiuider of Los Keyes (now Lima), the building of which was begun January IS, 1535. He afterwards took an active part in the campaign in Chile and supported the cause of Almagro. He fought against liis former commander. Pizarro, and participated in all the principal engagements until the defeat of the royal forces at Salinas (.pril 20, 1538), where he was killed while trying to escape from the pursuing enemy. DIAZ DE LA PENA, dt-'dz' de li pft'nya', Xabcisse ir(Mi.le (1807-76). A French land- scape painter, of the Harbison School. He was born in l?onleaux. of Spanish parents. His father having left his family, the lad was supported by his mother's efforts in teaching .Spanish and French. She died at S^vres. near Paris, when he was ten years old, and Xareisse was adopted by a Protestant clergjnian of Belle%nie. He ram- bled through wood and dale, acquiring that love of nature which afterwards made him a groat landscape painter. In one of these rambles Xareisse was bitten by a viper, which neces- sitated the amputation of his leg. He was apprenticed to iv porcelain-maker at S^v^es, an uncle of Dupre, who worked there and became his stanch friend. This work, no doubt, helped to dcAclop his wonderful sense of color, but Diaz was too independent a genius to become a porcclainpaintcr. While studying painting he lived in great poverty in Paris, even having to hog. Francois Souehon, an histnrieal painter, was his teacher, but Diaz was much attracted by the works of Correggio in the Louvre, and seems also to have been influenced by I^eonardo and Prud- hon. But he always went his own way. ami was in the main self-taught. An unexpected sale of his "Descent of the Gypsies" for 1500 francs in 1830 enabled him to go to Harbison. There ho came luidor the influence of Rousseau and de- voted himself to landscape painting, producing the best of his works. He continually exhibited nt the Salon, receiving medals in 1844. 1S40, and 1848, and the Cross of the Legion of Honor in 1851. He was very prolitic, and as his pictures sold well, he became quite wealthy. He was fond of life, and in his magnilicent studio in Paris he dispensed great hospitality. He died at Mentone, November 18, 1870, in consequence of a cold taken at the oiK-ra. Diaz was a man of unusual gifts, but he lacked the ap])lication and perseverance essential to a genius of the very first order. His pictures were always bright in color, brilliant in exi-cu- tion, and of a striking originality, but his draw- ing was often weak. His landscapes are usually ■tree-.scapes,' showing the play of light and shade among forest trees. He peoples them with nymphs, cupids. Oriental women in gaudy clothes, gypsies, and the like. He loved the sum- mer with its bright sunshine, and espei-ially ex- celled in de])icting rich autunui tints. His works are to be found in all the chief galleries. The greatest numln'r remained in France, but there are many in the jjublic and private collections of .merica. His work varies much in quality, the best having been done after 1835, when he came under the influence of Rousseau. Among his chief works are: "Love Disarmed" (18511: "Venn* and Cupid" (Walters Collection, in Haltinmre) ; "A Road in the Forest ;" "Hounds in the For- est;" "Af Storm." Consult: Muther, llistory of Modern I'ainling (London, 1890) ; Hoeber, "Diaz," in 'an Dyke, Modern French Masters (Xew York. lSflO> : Thompson. The Harbison School (London. ISOIl : Hustin. "Diaz." in Lcs artistes cclehres. DIAZ DEL CASTILLO, de'ath del ka-ste'ly6, Eer.n.l (c.l4n81.i',)3). A Spanish soldier and author, born at iledina ilel Campo. He accom- panied Cortez to Mexico in 151!', and after the conquest settled in that country. His nistory of the ConqursI of -Vcir S/inin (3 vols., 1632) is important because narrated by an eye-witness. The style of it. however, is far from elegant. See Memoirs of Bernal Dia: del t'lislillo, by him- self, and translated bv J. Ingraham Loekhart, 1844. DIAZ DE PINEDA. dA p.'-na'i):^, Goxzalo (V -lo4o(. . Spanish soldier in Peru, born in Torrelavega. In 1531 he accomiianied Francisco Pizarro on the hitter's final expedition to Peru, in 1535 explored the Magdalena River to its mouth, in 1536 discovered the country of the Canelos Indians, and in 1540 went with Gonzalo Pizarro on the ill-fated expedition for the eon- quest of that region. Sent with a small hand in an unsuccessful search for Orellana, who had been despatched down the Xapo River for sup- ])lies. he returned to assist tliem at last in reach- ing Peru with a half-starved remnant of the ox- IX'dition. When, in 1544, Gonzalo Pizarro re- belled against the Viceroy. Xuficz do Vela, he at first sided with the latter, but sub.sequently joined Pizarro. Defeati'd by the Viccro.v at Colli- qui'n. he escaped, but died from the mistaken use of poisonous plants for food. DIAZ DE SOLIS. sA-les'. See Soi.is. DIAZEUCTIC TONE (Gk. l,a^evKTiK6t, din- zeul.tiLus, disjunctive, from Siaftirynivai, dia- zetipni/nai, to disjoin, from J«£, din. apart 4- {w- YwwiJ, zeugnynni. to join). In Greek music, that tone which separates the tetrachonls (q.v.) of the three oldest modes. In the Dorian mode the diazouctic tone was the sto^) from b to a. In the later modes the tetrachords were constructed
