Part III

., pp. 837-935. (A. Ne.; H. J. P.)

GLASS, STAINED. All coloured glass is, strictly speaking, "stained" by some metallic oxide added to it in the process of manufacture. But the term "stained glass" is popularly, as well as technically, used in a more limited sense, and is understood to refer to stained glass windows. Still the words "stained glass" do not fully describe what is meant; for the glass in coloured windows is for the most part not only stained but painted. Such painting was, however, until comparatively modern times, used only to give details of drawing and to define _form_. The _colour_ in a stained glass window was not painted on the glass but incorporated in it, mixed with it in the making--whence the term "pot-metal" by which self-coloured glass is known, i.e. glass coloured in the melting pot.

A medieval window was consequently a patchwork of variously coloured pieces. And the earlier its date the more surely was it a mosaic, not in the form of tesserae, but in the manner known as "opus sectile." Shaped pieces of coloured glass were, that is to say, put together like the parts of a puzzle. The nearest approach to an exception to this rule is a fragment at the Victoria and Albert Museum, in which actual tesserae are fused together into a solid slab of many-coloured glass, in effect a window panel, through which the light shines with all the brilliancy of an Early Gothic window. But apart from the fact that the design proves in this case to be even more effective with the light upon it, the use of gold leaf in the tesserae confirms the presumption that this work, which (supposing it to be genuine) would be Byzantine, centuries earlier than any coloured windows that we know of, and entirely different from them in technique, is rather a specimen of fused mosaic that happens to be translucent than part of a window designedly executed in tesserae.

The Eastern (and possibly the earlier) practice was to set chips of coloured glass in a heavy fretwork of stone or to imbed them in plaster. In a medieval window they were held together by strips of lead, in section something like the letter H, the upright strokes of which represent the "tapes" extending on either side well over the edges of the glass, and the crossbar the connecting "core" between them. The leading was soldered together at the points of junction, cement or putty was rubbed into the crevices between glass and lead, and the window was attached (by means of copper wires soldered on to the leads) to iron saddle-bars let into the masonry.

Stained glass was primarily the art of the glazier; but the painter, called in to help, asserted himself more and more, and eventually took it almost entirely into his own hands. Between the period when it was glazier's work eked out by painting and when it was painter's work with the aid of the glazier lies the entire development of stained and painted window-making. With the eventual endeavour of the glass painter to do without the glazier, and to get the colour by painting in translucent _enamel_ upon colourless glass, we have the beginning of a form of art no longer monumental and comparatively trivial.

This evolution of the painted window from a patchwork of little pieces of coloured glass explains itself when it is remembered that coloured glass was originally not made in the big sheets produced nowadays, but at first in jewels to look as much as possible like rubies, sapphires, emeralds and other precious stones, and afterwards in rounds and sheets of small dimensions. Though some of the earliest windows were in the form of pure glazing ("leaded-lights"), the addition of painting seems to have been customary from the very first. It was a means of rendering detail not to be got in lead. Glazing affords by itself scope for beautiful pattern work; but the old glaziers never carried their art as far as they might have done in the direction of ornament; their aim was always in the direction of picture; the idea was to make windows serve the purpose of coloured story books. That was beyond the art of the glazier. It was easy enough to represent the drapery of a saint by red glass, the ground on which he stood by green, the sky above by blue, his crown by yellow, the scroll in his hand by white, and his flesh by brownish pink; but when it came to showing the folds of red drapery, blades of green grass, details of goldsmith's work, lettering on the scroll, the features of the face--the only possible way of doing it was by painting. The use of paint was confined at first to an opaque brown, used, not as colour, but only as a means of stopping out light, and in that way defining comparatively delicate details within the lead lines. These themselves outlined and defined the main forms of the design. The pigment used by the glass painter was of course vitreous: it consisted of powdered glass and sundry metallic oxides (copper, iron, manganese, &c.), so that, when the pieces of painted glass were made red hot in the kiln, the powdered glass became fused to the surface, and with it the dense colouring matter also. When the pieces of painted glass were afterwards glazed together and seen against the light, the design appeared in the brilliant colour of the glass, its forms drawn in the uniform black into which, at a little distance, leadwork and painting lines became merged.

It needed solid painting to stop out the light entirely: thin paint only obscured it. And, even in early glass, thin paint was used, whether to subdue crude colour or to indicate what little shading a 13th-century draughtsman might desire. In the present state of old glass, the surface often quite disintegrated, it is difficult to determine to what extent thin paint was used for either purpose. There must always have been the temptation to make tint do instead of solid lines; but the more workmanlike practice, and the usual one, was to get difference of tint, as a pen-draughtsman does, by lines of solid opaque colour. In comparatively colourless glass (_grisaille_) the pattern was often made to stand out by cross-hatching the background; and another common practice was to coat the glass with paint all over, and scrape the design out of it. The effect of either proceeding was to lower the tone of the glass without dirtying the colour, as a smear of thin paint would do.

Towards the 14th century, when Gothic design took a more naturalistic direction, the desire to get something like modelling made it necessary to carry painting farther, and they got rid to some extent of the ill effect of shading-colour smeared on the glass by stippling it. This not only softened the tint and allowed of gradation according to the amount of stippling, but let some light through, where the bristles of the stippling-tool took up the pigment. Shading of this kind enforced by touches of strong brushwork, cross-hatching and some scratching out of high lights was the method of glass painting adopted in the 14th century.

Glass was never at the best a pleasant surface to paint on; and glass painting, following the line of least resistance, developed in the later Gothic and early Renaissance periods into something unlike any other form of painting. The outlines continued to be traced upon the glass and fixed in the fire; but, after that, the process of painting consisted mainly in the removal of paint. The entire surface of the glass was coated with an even "matt" of pale brown; this was allowed to dry; and then the high lights were rubbed off, and the modelling was got by scrubbing away the paint with a dry hog-hair brush, more or less, according to the gradations required. Perfect modelling was got by repeating the operation--how often depended upon the dexterity of the painter. A painter's method is partly the outcome of his individuality. One man would float on his colour and manipulate it to some extent in the moist state; another would work entirely upon the dry matt. Great use was made of the pointed stick with which sharp lines of light were easily scraped out; and in the 16th century Swiss glass painters, working upon a relatively small scale, got their modelling entirely with a needle-point, scraping away the paint just as an etcher scratches away the varnish from his etching plate. The practice of the two craftsmen is, indeed, identical, though the one scratches out what are to be black lines and the other lines of light. In the end, then, though a painter would always use touches of the brush to get crisp lines of dark, the manipulation of glass painting consisted more in erasing lights than in painting shadows, more in rubbing out or scraping off paint than in putting it on in brush strokes.

So far there was no thought of getting colour by means of paint. The colour was in the glass itself, permeating the mass ("pot-metal"). There was only one exception to this--ruby glass, the colour of which was so dense that red glass thick enough for its purpose would have been practically obscure; and so they made a colourless pot-metal coated on one side only with red glass. This led to a practice which forms an exception to the rule that in "pot-metal" glass every change of colour, or from colour to white, is got by the use of a separate piece of glass. It was possible in the ease of this "flashed" ruby to grind away portions of the surface and thus obtain white on red or red on white. Eventually they made coated glass of blue and other colours, with a view to producing similar effects by abrasion. (The same result is arrived at nowadays by means of etching. The skin of coloured glass, in old days laboriously ground or cut away, is now easily eaten off by fluoric acid.) One other exceptional expedient in colouring had very considerable effect upon the development of glass design from about the beginning of the 14th century. The discovery that a solution of silver applied to glass would under the action of the fire stain it yellow enabled the glass painter to get yellow upon colourless glass, green upon grey-blue, and (by staining only the abraded portions) yellow upon blue or ruby. This yellow was neither enamel nor pot-metal colour, but stain--the only staining actually done by the glass painter as distinct from the glass maker. It varied in colour from pale lemon to deep orange, and was singularly pure in quality. As what is called "white" glass became purer and was employed in greater quantities it was lavishly used; so much so that a brilliant effect of silvery white and golden yellow is characteristic of later Gothic windows.

The last stage of glass painting was the employment of enamel not for stopping out light but to get colour. It began to be used in the early part of the 16th century--at first only in the form of a flesh tint; but it was not long before other colours were introduced. This use of colour no longer _in_ the glass but _upon_ it marks quite a new departure in technique. Enamel colour was finely powdered coloured glass mixed with gum or some such substance into a pigment which could be applied with a brush. When the glass painted with it was brought to a red heat in the oven, the powdered glass melted and was fused to it, just like the opaque brown employed from the very beginning of glass-painting.

This process of enamelling was hardly called for in the interests of art. Even the red flesh-colour (borrowed from the Limoges enamellers upon copper) did not in the least give the quality of flesh, though it enabled the painter to suggest by contrast the whiteness of a man's beard. As for the brighter enamel colours, they had nothing like the depth or richness of "stained" glass. What enamel really did was to make easy much that had been impossible in mosaic, as, for example, to represent upon the very smallest shield of arms any number of "charges" all in the correct tinctures. It encouraged the minute workmanship characteristic of Swiss glass painting; and, though this was not altogether inappropriate to domestic window panes, the painter was tempted by it to depart from the simplicity and breadth of design inseparable from the earlier mosaic practice. In the end he introduced coloured glass only where he could hardly help it, and glazed the great part of his window in rectangular panes of clear glass, upon which he preferred to paint his picture in opaque brown and translucent enamel colours.

Enamel upon glass has not stood the test of time. Its presence is usually to be detected in old windows by specks of light shining through the colour. This is where the enamel has crumbled off. There is a very good reason for that. Enamel must melt at a temperature at which the glass it is painted on keeps its shape. The lower the melting point of the powdered glass the more easily it is fused. The painter is consequently inclined to use enamel of which the contraction and expansion is much greater than that of his glass--with the result that, under the action of the weather, the colour is apt to work itself free and expose the bare white glass beneath. The only enamel which has held its own is that of the Swiss glass-painters of the 16th and 17th centuries. The domestic window panes they painted may not in all cases have been tried by the sudden changes of atmosphere to which church windows are subject; but credit must be given them for exceptionally skilful and conscientious workmanship.

The story of stained glass is bound up with the history of architecture, to which it was subsidiary, and of the church, which was its patron. Its only possible course of development was in the wake of church building. From its very inception it was Gothic and ecclesiastical. And, though it survived the upheaval of the Renaissance and was turned to civil and domestic use, it is to church windows that we must go to see what stained glass really was--or is; for time has been kind to it. The charm of medieval glass lies to a great extent in the material, and especially in the inequality of it. Chemically impure and mechanically imperfect, it was rarely crude in tint or even in texture. It shaded off from light to dark according to its thickness; it was speckled with air bubbles; it was streaked and clouded; and all these imperfections of manufacture went to perfection of colour. And age has improved it: the want of homogeneousness in the material has led to the disintegration of its surface; soft particles in it have been dissolved away by the action of the weather, and the surface, pitted like an oyster-shell, refracts the light in a way which adds greatly to the effect; at the same time there is roothold for the lichen which (like the curtains of black cobwebs) veils and gives mystery to the colour. An appreciable part of the beauty of old glass is the result of age and accident. In that respect no new glass can compare with it. There is, however, no such thing as "the lost secret" of glass-making. It is no secret that age mellows.

Stained and painted glass is commonly apportioned to its "period," Gothic or Renaissance, and further to the particular phase of the style to which it belongs. C. Winston, who was the first to inquire thoroughly into English glass, adopting T. Rickman's classification, divided Gothic windows into Early English (to c. 1280), Decorated (to c. 1380) and Perpendicular (to c. 1530). These dates will do. But the transition from one phase of design to another is never so sudden, nor so easily defined, as any table of dates would lead us to suppose. The old style lingered in one district long after the new fashion was flourishing in another. Besides, the English periods do not quite coincide with those of other countries. France, Germany and the Low Countries count for much in the history of stained glass; and in no two places was the pace of progress quite the same. There was, for example, scarcely any 13th-century Gothic in Germany, where the "geometric" style, equivalent to our Decorated, was preceded by the Romanesque period; in France the Flamboyant took the place of our Perpendicular; and in Italy Gothic never properly took root at all. All these considered, a rather rough and ready division presents the least difficulty to the student of old glass; and it will be found convenient to think of Gothic glass as (1) Early, (2) Middle and (3) Late, and of the subsequent windows as (1) Renaissance and (2) Late Renaissance. The three periods of Gothic correspond approximately to the 13th, 14th and 15th centuries. The limits of the two periods of the Renaissance are not so easily defined. In the first part of the 16th century (in Italy long before that) the Renaissance and Gothic periods overlapped; in the latter part of it, glass painting was already on the decline; and in the 17th and 18th centuries it sank to deeper depths of degradation.

The likeness of early windows to translucent enamel (which is also glass) is obvious. The lines of lead glazing correspond absolutely to the "cloisons" of Byzantine goldsmith's work. Moreover, the extreme minuteness of the leading (not always either mechanically necessary or architecturally desirable) suggests that the starting point of all this gorgeous illumination was the idea of reproducing on a grandiose scale the jewelled effect produced in small by cloisonne enamellers. In other respects the earliest glass shows the influence of Byzantine tradition. It is mainly according to the more or less Byzantine character of its design and draughtsmanship that archaeologists ascribe certain remains of old glass to the 12th or the 11th century. Apart from documentary or direct historic evidence, it is not possible to determine the precise date of any particular fragment. In the "restored" windows at St Denis there are remnants of glass belonging to the year 1108. Elsewhere in France (Reims, Anger, Le Mans, Chartres, &c.) there is to be found very early glass, some of it probably not much later than the end of the 10th century, which is the date confidently ascribed to certain windows at St Remi (Reims) and at Tegernsee. The rarer the specimen the greater may be its technical and antiquarian interest. But, even if we could be quite sure of its date, there is not enough of this very early work, and it does not sufficiently distinguish itself from what followed, to count artistically for much. The glory of early glass belongs to the 13th century.

The design of windows was influenced, of course, by the conditions of the workshop, by the nature of glass, the difficulty of shaping it, the way it could be painted, and the necessity of lead glazing. The place of glass in the scheme of church decoration led to a certain severity in the treatment of it. The growing desire to get more and more light into the churches, and the consequent manufacture of purer and more transparent glass, affected the glazier's colour scheme. For all that, the fashion of a window was, _mutatis mutandis_, that of the painting, carving, embroidery, goldsmith's work, enamel and other craftsmanship of the period. The design of an ivory triptych is very much that of a three-light window. There is a little enamelled shrine of German workmanship in the Victoria and Albert Museum which might almost have been designed for glass; and the famous painted ceiling at Hildesheim is planned precisely on the lines of a medallion window of the 13th century. By that time glass had fallen into ways of its own, and there were already various types of design which we now recognize as characteristic of the first great period, in some respects the greatest of all.

Pre-eminently typical of the first period is the "medallion window." Glaziers began by naively accepting the iron bars across the light as the basis of their composition, and planned a window as a series of panels, one above the other, between the horizontal crossbars and the upright lines of the border round it. The next step was to mitigate the extreme severity of this composition by the introduction of a circular or other medallion within the square boundary lines. Eventually these were abandoned altogether, the iron bars were shaped according to the pattern, and there was evolved the "medallion window," in which the main divisions of the design are emphasized by the strong bands of iron round them. Medallions were invariably devoted to picturing scenes from Bible history or from the lives of the saints, set forth in the simplest and most straightforward manner, the figures all on one plane, and as far as possible clear-cut against a sapphire-blue or ruby-red ground. Scenery was not so much depicted as suggested. An arch or two did duty for architecture, any scrap of foliated ornament for landscape. Simplicity of silhouette was absolutely essential to the readableness of pictures on the small scale allowed by the medallion. As it is, they are so difficult to decipher, so confused and broken in effect, as to give rise (the radiating shape of "rose windows" aiding) to the misconception that the design of early glass is kaleidoscopic--which it is not. The intervals between subject medallions were filled in England (Canterbury) with scrollwork, in France (Chartres) more often with geometric diaper, in which last sometimes the red and blue merge into an unpleasant purple. Design on this small scale was obviously unsuited to distant windows. Clerestory lights were occupied by figures, sometimes on a gigantic scale, entirely occupying the window, except for the border and perhaps the slightest pretence of a niche. This arrangement lent itself to broad effects of colour. The drawing may be rude; at times the figures are grotesque; but the general impression is one of mysterious grandeur and solemnity.

The depth and intensity of colour in the windows so far described comes chiefly from the quality of the glass, but partly also from the fact that very little white or pale-coloured glass was used. It was not the custom at this period to dilute the colour of a rich window with white. If light was wanted they worked in white, enlivened, it might be, by colour. Strictly speaking, 13th-century glass was never colourless, but of a greenish tint, due to impurities in the sand, potash or other ingredients; it was of a horny consistency, too; but it is convenient to speak of all would-be-clear glass as "white." The greyish windows in which it prevails are technically described as "in grisaille." There are examples (Salisbury, Chalons, Bonlieu, Angers) of "plain glazing" in grisaille, in which the lead lines make very ingenious and beautiful pattern. In the more usual case of painted grisaille the lead lines still formed the groundwork of the design, though supplemented by foliated or other detail, boldly outlined in strong brown and emphasized by a background of cross-hatching. French grisaille was frequently all in white (Reims, St Jean-aux-Bois, Sens), English work was usually enlivened by bands and bosses of colour (Salisbury); but the general effect of the window was still grey and silvery, even though there might be distributed about it (the "five sisters," York minster) a fair amount of coloured glass. The use of grisaille is sufficiently accounted for by considerations of economy and the desire to get light; but it was also in some sort a protest (witness the Cistercian interdict of 1134) against undue indulgence in the luxury of colour. At this stage of its development it was confined strictly to patternwork; figure subjects were always in colour. For all that, some of the most restful and entirely satisfying work of the 13th century was in grisaille (Salisbury, Chartres, Reims, &c.).

The second or Middle period of Gothic glass marks a stage between the work of the Early Gothic artist who thought out his design as glazing, and that of the later draughtsman who conceived it as something to be painted. It represents to many the period of greatest interest--probably because of its departure from the severity of Early work. It was the period of more naturalistic design; and a touch of nature is more easily appreciated than architectural fitness. Middle Gothic glass, halting as it does between the relatively rude mosaic of early times and the painter-like accomplishment of fully-developed glass painting, has not the salient merits of either. In the matter of tone also it is intermediate between the deep, rich, sober harmonies of Early windows and the lighter, brighter, gayer colouring of later glass. Now for the first time grisaille ornament and coloured figurework were introduced into the same window. And this was done in a very judicious way, in alternate bands of white and deep rich colour, binding together the long lights into which windows were by this time divided (chapter-house, York minster). A similar horizontal tendency of design is noticeable in windows in which the figures are enshrined under canopies, henceforth a feature in glass design. The pinnaclework falls into pronounced bands of brassy yellow between the tiers of figures (nave, York minster) and serves to correct the vertical lines of the masonry. Canopywork grew sometimes to such dimensions as quite to overpower the figure it was supposed to frame; but, then, the sense of scale was never a directing factor in Decorated design. A more interesting form of ornament is to be found in Germany, where it was a pleasing custom (Regensburg) to fill windows with conventional foliage without figurework. There is abundance of Middle Gothic glass in England (York, Wells, Ely, Oxford), but the best of it, such as the great East window at Gloucester cathedral, has features more characteristic of the 15th than of the 14th century.

The keynote of Late Gothic glass is brilliancy. It had a silvery quality. The 15th century was the period of white glass, which approached at last to colourlessness, and was employed in great profusion. Canopywork, more universal than ever, was represented almost entirely in white touched with yellow stain, but not in sufficient quantities to impair its silveriness. Whatever the banality of the idea of imitation stonework in glass, the effect of thus framing coloured pictures in delicate white is admirable: at last we have white and colour in perfect combination. Fifteenth-century figurework contains usually a large proportion of white glass; flesh tint is represented by white; there is white in the drapery; in short, there is always white enough in the figures to connect them with the canopywork and make the whole effect one. The preponderance of white will be better appreciated when it is stated that very often not a fifth or sixth part of the glass is coloured. It is no uncommon thing to find figures draped entirely in white with only a little colour in the background; and figurework all in grisaille upon a ground of white latticework is quite characteristic of Perpendicular glass.

One of the most typical forms of Late English Gothic canopy is where (York minster) its slender pinnacles fill the upper part of the window, and its solid base frames a picture in small of some episode in the history of the personage depicted as large as life above. A much less satisfactory continental practice was to enrich only the lower half of the window with stained glass and to make shift above (Munich) with "roundels" of plain white glass, the German equivalent for diamond latticework.

[Illustration: PLATE I.

I. EARLY GLAZING. From S. Serge, Angers, Grisaille, with colour introduced in the small circles.

II. AN EARLY BORDER. From S. Kunibert, Cologne.

III. PORTION OF AN EARLY MEDALLION WINDOW. From Canterbury, showing the plan of the design and the ornamental details.

IV. AN EARLY FIGUREJFROM LYONS. Showing the leading of the eyes, hair, nimbus, and drapery.

V. DECORATED LIGHTS. From S. Urbain, Troyes, showing both the influence of the early period in the figures, and the beginning of the architectural canopy.

VI. TYPICAL DECORATED CANOPY. From Exeter.

Nos. I., II., III., IV., VI. are taken from illustrations in Lewis F. Day, _Windows_, by permission of B. T. Batsford.]

[Illustration: PLATE II.

I. A TYPICAL PERPENDICULAR CANOPY (from Lewis F. Day, _Windows_, by permission of B. T. Batsford).

II. A WINDOW FROM AUCH. Illustrating the transition from Perpendicular to Renaissance.

III. A SIXTEENTH-CENTURY JESSE WINDOW. From Beauvais (source as in Fig. I.).

IV. PORTION OF A RENAISSANCE WINDOW. From Montmorency, showing the perfection of glass painting.

From Lutien Magne, _Oeuvre des Peintres Verriers Francais_, by permission of Firmin-Didot et C^ie.]

A sign of later times is the way pictures spread beyond the confines of a single light. This happened by degrees. At first the connexion between the figures in separate window openings was only in idea, as when a central figure of the crucified Christ was flanked by the Virgin and St John in the side lights. Then the arms of the cross would be carried through, or as it were behind, the mullions. The expansion to a picture right across the window was only a question of time. Not that the artist ventured as yet to disregard the architectural setting of his picture--that happened later on--but that he often composed it with such cunning reference to intervening stonework that it did not interfere with it. It has been argued that each separate light of a window ought to be complete in itself. On the other hand it has proved possible to make due acknowledgment of architectural conditions without cramping design in that way. There can be no doubt as to the variety and breadth of treatment gained by accepting the whole window as field for a design. And, when a number of lights go to make a window, it is the window, and no separate part of it, which is the main consideration.

By the end of the Gothic period, glass painters proceeded on an entirely different method from that of the 13th century. The designer of early days began with glazing: he thought in mosaic and leadwork; the lines he first drew were the lines of glazing; painting was only a supplementary process, enabling him to get what lead lines would not give. The Late Gothic draughtsman began with the idea of painting; glazing was to him of secondary importance; he reached a stage (Creation window, Great Malvern) where it is clear that he first sketched out his design, and then bethought him how to glaze it in such wise that the leadwork (which once boldly outlined everything) should not interfere with the picture. The artful way in which he would introduce little bits of colour into a window almost entirely white, makes it certain that he had always at the back of his mind the consideration of the glazing to come. So long as he thought of that, and did not resent it, all was fairly well with glass painting, but there came a point where he found it difficult, if not impossible, to reconcile the extreme delicacy of his painting upon white glass with the comparatively brutal strength of his lead lines. It is here that the conditions of painting and glazing clash at last.

It must not be supposed that Late Gothic windows were never by any chance rich in colour. Local conservatism and personal predilection prevented anything like monotonous progress in a single direction. There is (St Sebald, Nuremberg) Middle Gothic glass as dense in colour as any 13th-century work, and Late Gothic (Troyes cathedral) which, from its colour, one might take at first to be a century earlier than it is. In Italy (Florence) and to some extent in Spain (Seville) it was the custom to make canopywork so rich in colour that it was more like part of the picture than a frame to it. But that was by exception. The tendency was towards lighter windows. Glass itself was less deeply stained when painters depended more upon their power of deepening it by paint. It was the seeking after delicate effects of painting, quite as much as the desire to let light into the church, which determined the tone of later windows. The clearer the glass the more scope it gave for painting.

It is convenient to draw a line between Gothic art and Renaissance. Nothing is easier than to say that windows in which crocketed canopywork occurs are Gothic, and that those with arabesque are Renaissance. But that is an arbitrary distinction, which does not really distinguish. Some of the most beautiful work in glass, such for example as that at Auch, is so plainly intermediate between two styles that it is impossible to describe it as anything but "transitional." And, apart from particular instances, we have only to look at the best Late Gothic work to see that it is informed by the new spirit, and at fine Renaissance glass to observe how it conforms to Gothic traditions of workmanship. The new idea gave a spurt to Gothic art; and it was Gothic impetus which carried Renaissance glass painting to the summit of accomplishment reached in the first half of the 16th century. When that subsided, and the pictorial spirit of the age at last prevailed, the bright days of glass were at an end. If we have to refer to the early Renaissance as the culminating period of glass painting, it is because the technique of an earlier period found in it freer and fuller expression. With the Renaissance, design broke free from the restraints of tradition.

An interesting development of Renaissance design was the framing of pictures in golden-yellow arabesque ornament, scarcely architectural enough to be called canopywork, and reminiscent rather of beaten goldsmith's work than of stone carving. This did for the glass picture what a gilt frame does for a painting in oil. Very often framework of any kind was dispensed with. The primitive idea of accepting bars and mullions as boundaries of design, and filling the compartments formed by them with a medley of little subjects, lingered on. The result was delightfully broken colour, but inevitable confusion; for iron and masonry do not effectively separate glass pictures. There was no longer in late glass any pretence of preserving the plane of the window. It was commonly designed to suggest that one saw out of it. Throughout the period of the Renaissance, architectural and landscape backgrounds play an important part in design. An extremely beautiful feature in early 16th-century French glass pictures (Rouen, &c.) is the little peep of distant country delicately painted upon the pale-blue glass which represents the sky. In larger work landscape and architecture were commonly painted upon white (King's College, Cambridge). The landscape effect was always happiest when one or other of these conventions was adopted. Canopywork never went quite out of fashion. For a long while the plan was still to frame coloured pictures in white. Theoretically this is no less effectually to be done by Italian than by Gothic shrinework. Practically the architectural setting assumed in the 16th century more and more the aspect of background to the figures, and, in order that it should take its place in the picture, they painted it so heavily that it no longer told as white. Already in van Orley's magnificent transept windows at St Gudule, Brussels, the great triumphal arch behind the kneeling donors and their patron saints (in late glass donors take more and more the place of holy personages) tells dark against the clear ground. There came a time, towards the end of the century, when, as in the wonderful windows at Gouda, the very quality of white glass is lost in heavily painted shadow.

The pictorial ambition of the glass painter, active from the first, was kept for centuries within the bounds of decoration. Medallion subjects were framed in ornament, standing figures in canopywork, and pictures were conceived with regard to the window and its place in architecture. Severity of treatment in design may have been due more to the limitations of technique than to restraint on the part of the painter. The point is that it led to unsurpassed results. It was by absolute reliance upon the depth and brilliancy of self-coloured glass that all the beautiful effects of early glass were obtained. We need not compare early mosaic with later painted glass; each was in its way admirable; but the early manner is the more peculiar to glass, if not the more proper to it. The ruder and more archaic design gives in fullest measure the glory of glass--for the loss of which no quality of painting ever got in glass quite makes amends. The pictorial effects compatible with glass design are those which go with pure, brilliant and translucent colour. The ideal of a "primitive" Italian painter was more or less to be realized in glass: that of a Dutch realist was not. It is astonishing what glass painters did in the way of light and shade. But the fact remains that heavy painting obscured the glass, that shadows rendered in opaque surface-colour lacked translucency, and that in seeking before all things the effects of shadow and relief, glass painters of the 17th century fell short of the qualities on the one hand of glass and on the other of painting.

The course of glass painting was not so even as this general survey of its progress might seem to imply. It was quickened here, impeded there, by historic events. The art made a splendid start in France; but its development was stayed by the disasters of war, just when in England it was thriving under the Plantagenets. It revived again under Francis I. In Germany it was with the prosperity of the free cities of the Empire that glass painting prospered. In the Netherlands it blossomed out under the favour of Charles V. In the Swiss Confederacy its direction was determined by civil and domestic instead of church patronage. In most countries there were in different districts local schools of glass painting, each with some character of its own. To what extent design was affected by national temperament it is not easy to say. The marked divergence of the Flemish from the French treatment of glass in the 16th century is not entirely due to a preference on the one part for colour and on the other for light and shade, but is partly owing to the circumstance that, whilst in France design remained in the hands of craftsmen, whose trade was glass painting, in the Netherlands it was entrusted by the emperor to his court painter, who concerned himself as little as possible with a technique of which he knew nothing. If in France we come also upon the names of well-known artists, they seem, like Jean Cousin, to have been closely connected with glass painting: they designed so like glass painters that they might have begun their artistic career in the workshop.

The attribution of fine windows to famous artists should not be too readily accepted; for, though it is a foible of modern times to father whatever is noteworthy upon some great name, the masterpieces of medieval art are due to unknown craftsmen. In Italy, where glass painting was not much practised, and it seems to have been the custom either to import glass painters as they were wanted or to get work done abroad, it may well be that designs were supplied by artists more or less distinguished. Ghiberti and Donatello may have had a hand in the cartoons for the windows of the Duomo at Florence; but it is not to any sculptor that we can give the entire credit of design so absolutely in the spirit of colour decoration. The employment of artists not connected with glass design would go far to explain the great difference of Italian glass from that of other countries. The 14th-century work at Assisi is more correctly described as "Trecento" than as Gothic, and the "Quattrocento" windows at Florence are as different as could be from Perpendicular work. One compares them instinctively with Italian paintings, not with glass elsewhere. And so with the 15th-century Italian glass. The superb 16th-century windows of William of Marseilles at Arezzo, in which painting is carried to the furthest point possible short of sacrificing the pure quality of glass, are more according to contemporary French technique. Both French and Italian influence may be traced in Spanish glass (Avila, Barcelona, Burgos, Granada, Leon, Seville, Toledo). Some of it is said to have been executed in France. If so it must have been done to Spanish order. The coarse effectiveness of the design, the strength of the colour, the general robustness of the art, are characteristically Spanish; and nowhere this side of the Pyrenees do we find detail on a scale so enormous.

We have passed by, in following the progressive course of craftsmanship, some forms of design, peculiar to no one period but very characteristic of glass. The "quarry window," barely referred to, its diamond-shaped or oblong panes painted, richly bordered, relieved by bosses of coloured ornament often heraldic, is of constant occurrence. Entire windows, too, were from first to last given up to heraldry. The "Jesse window" occurs in every style. According to the fashion of the time the "Stem of Jesse" burst out into conventional foliage, vine branches or arbitrary scrollwork. It appealed to the designer by the scope it gave for freedom of design. He found vent, again, for fantastic imagination in the representation of the "Last Judgment," to which the west window was commonly devoted. And there are other schemes in which he delighted; but this is not the place to dwell upon them.

The glass of the 17th century does not count for much. Some of the best in England is the work of the Dutch van Linge family (Wadham and Balliol Colleges, Oxford). What glass painting came to in the 18th century is nowhere better to be seen than in the great west window of the ante-chapel at New College, Oxford. That is all Sir Joshua Reynolds and the best china painter of his day could do between them. The very idea of employing a china painter shows how entirely the art of the glass painter had died out.

It re-awoke in England with the Gothic revival of the 19th century; and the Gothic revival determined the direction modern glass should take. Early Victorian doings are interesting only as marking the steps of recovery (cf. the work of T. Willement in the choir of the Temple church; of Ward and Nixon, lately removed from the south transept of Westminster Abbey; of Wailes). Better things begin with the windows at Westminster inspired by A. C. Pugin, who exercised considerable influence over his contemporaries. John Powell (Hardman & Co.) was an able artist content to walk, even after that master's death, reverently in his footsteps. Charles Winston, whose _Hints on Glass Painting_ was the first real contribution towards the understanding of Gothic glass, and who, by the aid of the Powells (of Whitefriars) succeeded in getting something very like the texture and colour of old glass, was more learned in ancient ways of workmanship than appreciative of the art resulting from them. (He is responsible for the Munich glass in Glasgow cathedral.) So it was that, except for here and there a window entrusted by exception to W. Dyce, E. Poynter, D. G. Rossetti, Ford Madox Brown or E. Burne-Jones, glass, from the beginning of its recovery, fell into the hands of men with a strong bias towards archaeology. The architects foremost in the Gothic revival (W. Butterfield, Sir G. Scott, G. E. Street, &c.) were all inclined that way; and, as they had the placing of commissions for windows, they controlled the policy of glass painters. Designers were constrained to work in the pedantically archaeological manner prescribed by architectural fashion. Unwillingly as it may have been, they made mock-medieval windows, the interest in which died with the popular illusion about a Gothic revival. But they knew their trade; and when an artist like John Clayton (master of a whole school of later glass painters) took a window in hand (St Augustine's, Kilburn; Truro cathedral; King's College Chapel, Cambridge) the result was a work of art from which, tradework as it may in a sense be, we may gather what such men might have done had they been left free to follow their own artistic impulse. It is necessary to refer to this because it is generally supposed that whatever is best in recent glass is due to the romantic movement. The charms of Burne-Jones's design and of William Morris's colour, place the windows done by them among the triumphs of modern decorative art; but Morris was neither foremost in the reaction, nor quite such a master of the material he was working in as he showed himself in less exacting crafts. Other artists to be mentioned in connexion with glass design are: Clement Heaton, Bayne, N. H. J. Westlake and Henry Holiday, not to speak of a younger generation of able men.

Foreign work shows, as compared with English, a less just appreciation of glass, though the foremost draughtsmen of their day were enlisted for its design. In Germany, King Louis of Bavaria employed P. von Cornelius and W. von Kaulbach (Aix-la-Chapelle, Cologne, Glasgow); in France the Bourbons employed J. A. D. Ingres, F. V. E. Delacroix, Vernet and J. H. Flandrin (Dreux); and the execution of their designs was entrusted to the most expert painters to be procured at Munich and Sevres; but all to little effect. They either used pot-metal glass of poor quality, or relied upon enamel--with the result that their colour lacks the qualities of glass. Where it is not heavy with paint it is thin and crude. In Belgium happier results were obtained. In the chapel of the Holy Sacrament at Brussels there is one window by J. B. Capronnier not unworthy of the fine series by B. van Orley which it supplements. At the best, however, foreign artists failed to appreciate the quality of glass; they put better draughtsmanship into their windows than English designers of the mid-Victorian era, and painted them better; but they missed the glory of translucent colour.

Modern facilities of manufacture make possible many things which were hitherto out of the question. Enamel colours are richer; their range is extended; and it may be possible, with the improved kilns and greater chemical knowledge we possess, to make them hold permanently fast. It was years ago demonstrated at Sevres how a picture may be painted in colours upon a sheet of plate-glass measuring 4 ft. by 2-1/2 ft. We are now no doubt in a position to produce windows painted on much larger sheets. But the results achieved, technically wonderful as they are, hardly warrant the waste of time and labour upon work so costly, so fragile, so lacking in the qualities of a picture on the one hand and of glass on the other.

In America, John la Farge, finding European material not dense enough, produced pot-metal more heavily charged with colour. This was wilfully streaked, mottled and quasi-accidentally varied; some of it was opalescent; much of it was more like agate or onyx than jewels. Other forms of American enterprise were: the making of glass in lumps, to be chipped into flakes; the ruckling it; the shaping it in a molten state, or the pulling it out of shape. It takes an artist of some reserve to make judicious use of glass like this. La Farge and L. C. Tiffany have turned it to beautiful account; but even they have put it to purposes more pictorial than it can properly fulfil. The design it calls for is a severely abstract form of ornament verging upon the barbaric.

_Examples of Important Historical Stained Glass._

There are remains of the earliest known glass: in France--at Le Mans, Chartres, Chalons-sur-Marne, Angers and Poitiers cathedrals, the abbey church of St Denis and at St Remi, Reims: in England--at York minster (fragments): in Germany--at Augsburg and Strassburg cathedrals: in Austria--in the cloisters of Heiligen Kreuz.

The following is a classified list of some of the most characteristic and important windows, omitting for the most part isolated examples, and giving by preference the names of churches where there is a fair amount of glass remaining; the country in which at each period the art throve best is put first.

---------------------------------------------------------------------- EARLY GOTHIC

_France._ _England._

Chartres \ Canterbury \ Le Mans | Salisbury > cathedrals. Bourges > cathedrals. Lincoln / Reims | York minster. Auxerre / Ste Chapelle, Paris. Church of St Jean-aux-Bois.

_Germany._

Church of St Kunibert, Cologne (Romanesque). Cologne cathedral.

---------------------------------------------------------------------- MIDDLE GOTHIC

_England._ _Germany._

York minster. Church of St Sebald, Nuremberg. Ely cathedral. Strassburg \ Wells cathedral. Regensburg | Tewkesbury abbey. Augsburg > cathedrals. Erfurt | Freiburg / Church of Nieder Haslach.

_France._ _Italy._

Evreux cathedral. Church of St Francis, Assisi. Church of St Pierre, Chartres. Church of Or San Michele, Cathedral and church of St Urbain, Florence. Troyes. Church of S. Petronio, Bologna. Church of Ste Radegonde, Poitiers. Cathedral and church of St Ouen, Rouen.

_Spain._

Toledo cathedral.

---------------------------------------------------------------------- LATE GOTHIC

_England._ _France._

New College, Oxford. Bourges \ cathedrals. Gloucester cathedral. Troyes / York, minster and other churches. Church of Notre Dame, Alencon. Great Malvern abbey. Church of St Mary, Shrewsbury. Fairford church.

_Italy._ _Germany._

The Duomo, Florence. Cologne \ Ulm > cathedrals. _Spain._ Munich / Church of St Lorenz, Nuremberg. Toledo cathedral.

---------------------------------------------------------------------- TRANSITION PERIOD

The choir of the cathedral at Auch.

---------------------------------------------------------------------- RENAISSANCE

_France._ _Netherlands._

St Vincent \ Brussels cathedral. St Patrice > Rouen. Church of St Jacques \ St Godard / Church of St Martin > Liege. Church of St Foy, Conches. Cathedral / Church of St Gervais, Paris. Church of St Etienne-du-Mont, Paris. _Switzerland._ Church of St Martin, Montmorency. Church of Ecouen. Lucerne and most of the other Church of St Etienne, Beauvais. principal museums. Church of St Nizier, Troyes. Church of Brou, Bourg-en-Bresse. The Chateau de Chantilly.

_Italy._ _England._

Arezzo \ cathedrals. King's College chapel, Cambridge. Milan / Lichfield cathedral. Certosa di Pavia. St George's church, Hanover Square, Church of S. Petronio, Bologna. London. Church of Sta Maria Novella, St Margaret's church, Westminster. Florence.

_Germany._ _Spain._

Freiburg cathedral. Granada \ cathedrals. Seville /

---------------------------------------------------------------------- LATE RENAISSANCE

_Netherlands._ _France._

Groote Kirk, Gouda. Church of St Martin-es-Vignes, Troyes. Choir of Brussels cathedral. Nave and transepts of Auch cathedral. Antwerp cathedral.

_England._ _Switzerland._

Wadham \ Most museums. Balliol > colleges, Oxford. New /

----------------------------------------------------------------------

Of late years each country has been learning so much from the others that the newest effort is very much in one direction. It seems to be agreed that the art of the window-maker begins with glazing, that the all-needful thing is beautiful glass, that painting may be reduced to a minimum, and on occasion (thanks to new developments in the making of glass) dispensed with altogether. A tendency has developed itself in the direction not merely of mosaic, but of carrying the glazier's art farther than has been done before and rendering landscapes and even figure subjects in unpainted glass. When, however, it comes to the representation of the human face, the limitations of simple lead-glazing are at once apparent. A possible way out of the difficulty was shown at the Paris Exhibition of 1900 by M. Tournel, who, by fusing together coloured tesserae on to larger pieces of colourless glass, anticipated the discovery of the already mentioned fragment of Byzantine mosaic now in the Victoria and Albert Museum. He may have seen or heard Of something of the sort. There would be no advantage in building up whole windows in this way; but for the rendering of the flesh and sundry minute details in a window for the most part heavily leaded, this fusing together of tesserae, and even of little pieces of glass cut carefully to shape, seems to supply the want of something more in keeping with severe mosaic glazing than painted flesh proves to be.

Glass painters are allowed to-day a freer hand than formerly. They are no longer exclusively engaged upon ecclesiastical work; domestic glass is an important industry; and a workman once comparatively exempt from pedantic control is not so easily restrained from self-expression. Moreover, the recognition of the artistic position of craftsmen in general makes it possible for a man to devote himself to glass without sinking to the rank of a mechanic; and artists begin to realize the scope glass offers them. What they lack as yet is experience in their craft, and perhaps due workmanlike respect for traditional ways of workmanship. When the old methods come to be superseded it will be only by new ones evolved out of them. At present the conditions of glass painting remain very much what they were. The supreme beauty of glass is still in the purity, the brilliancy, the translucency of its colour. To make the most of this the designer must be master of his trade. The test of window design is, now as ever, that it should have nothing to lose and everything to gain by execution in stained glass.

BIBLIOGRAPHY.--Theophilus, _Arts of the Middle Ages_ (London, 1847); Charles Winston, _An Inquiry into the Difference of Style observable in Ancient Glass Painting, especially in England_ (Oxford, 1847), and _Memoirs illustrative of the Art of Glass Painting_ (London, 1865); N. H. J. Westlake, _A History of Design in Painted Glass_ (4 vols., London, 1881-1894); L. F. Day, _Windows, A Book about Stained and Painted Glass_ (London, 1909), and _Stained Glass_ (London, 1903); A. W. Franks, _A Book of Ornamental Glazing Quarries_ (London, 1849); _A Booke of Sundry Draughtes, principaly serving for Glasiers_ (London, 1615, reproduced 1900); F. G. Joyce, _The Fairford Windows_ (coloured plates) (London, 1870); _Divers Works of Early Masters in Ecclesiastical Decoration_, edited by John Weale (2 vols., London, 1846); Ferdinand de Lasteyrie, _Histoire de la peinture sur verre d'apres ses monuments en France_ (2 vols., Paris, 1852), and _Quelques mots sur la theorie de la peinture sur verre_ (Paris, 1853); L. Magne, _Oeuvre des peintres verriers francais_ (2 vols., Paris, 1885); Viollet le Duc, "Vitrail," vol. ix. of the _Dictionnaire raisonne de l'architecture_ (Paris, 1868); O. Merson, "Les Vitraux," _Bibliotheque de l'enseignement des beaux-arts_ (Paris, 1895); E. Levy and J. B. Capronnier, _Histoire de la peinture sur verre_ (coloured plates) (Brussels, 1860); Ottin, _Le Vitrail, son histoire a travers les ages_ (Paris); Pierre le Vieil, _L'Art de la peinture sur verre et de la vitrerie_ (Paris, 1774); C. Cahier and A. Martin, _Vitraux peints de Bourges du XIII^e siecle_ (2 vols., Paris, 1841-1844); S. Clement and A. Guitard, _Vitraux du XIII^e siecle de la cathedrale de Bourges_ (Bourges, 1900): M. A. Gessert, _Geschichte der Glasmalerei in Deutschland und den Niederlanden, Frankreich, England, &c., von ihrem Ursprung bis auf die neueste Zeit_ (Tubingen and Stuttgart, 1839; also an English translation, London, 1851); F. Geiges, _Der alte Fensterschmuck des Freiburger Munsters_, 5 parts (Freiburg im Breisgau, 1902, &c.); A. Hafner, _Chefs-d'oeuvre de la peinture suisse sur verre_ (Berlin). (L. F. D.)

GLASSBRENNER, ADOLF (1810-1876), German humorist and satirist, was born at Berlin on the 27th of March 1810. After being for a short time in a merchant's office, he took to journalism, and in 1831 edited _Don Quixote_, a periodical which was suppressed in 1833 owing to its revolutionary tendencies. He next, under the pseudonym _Adolf Brennglas_, published a series of pictures of Berlin life, under the titles _Berlin wie es ist und--trinkt_ (30 parts, with illustrations, 1833-1849), and _Buntes Berlin_ (14 parts, with illustrations, Berlin, 1837-1858), and thus became the founder of a popular satirical literature associated with modern Berlin. In 1840 he married the actress Adele Peroni (1813-1895), and removed in the following year to Neustrelitz, where his wife had obtained an engagement at the Grand ducal theatre. In 1848 Glassbrenner entered the political arena and became the leader of the democratic party in Mecklenburg-Strelitz. Expelled from that country in 1850, he settled in Hamburg, where he remained until 1858; and then he became editor of the _Montagszeitung_ in Berlin, where he died on the 25th of September 1876.

Among Glassbrenner's other humorous and satirical writings may be mentioned: _Leben und Treiben der feinen Welt_ (1834); _Bilder und Traume aus Wien_ (2 vols., 1836); Gedichte (1851, 5th ed. 1870); the comic epics, _Neuer Reineke Fuchs_ (1846, 4th ed. 1870) and _Die verkehrte Welt_ (1857, 6th ed. 1873); also _Berliner Volksleben_ (3 vols., illustrated; Leipzig, 1847-1851). Glassbrenner has published some charming books for children, notably _Lachende Kinder_ (14th ed., 1884), and _Sprechende Tiere_ (20th ed., Hamburg, 1899).

See R. Schmidt-Cabanis, "Adolf Glassbrenner," in _Unsere Zeit_ (1881).

GLASS CLOTH, a textile material, the name of which indicates the use for which it was originally intended. The cloths are in general woven with the plain weave, and the fabric may be all white, striped or cheeked with red, blue or other coloured threads; the checked cloths are the most common. The real article should be all linen, but a large quantity is made with cotton warp and tow weft, and in some cases they are composed entirely of cotton. The short fibres of the cheaper kind are easily detached from the cloth, and hence they are not so satisfactory for the purpose for which they are intended.

GLASSIUS, SALOMO (1593-1656), theologian and biblical critic, was born at Sondershausen, in the principality of Schwarzburg-Sondershausen, on the 20th of May 1593. In 1612 he entered the university of Jena. In 1615, with the idea of studying law, he moved to Wittenberg. In consequence of an illness, however, he returned to Jena after a year. Here, as a student of theology under Johann Gerhard, he directed his attention especially to Hebrew and the cognate dialects; in 1619 he was made an "adjunctus" of the philosophical faculty, and some time afterwards he received an appointment to the chair of Hebrew. From 1625 to 1638 he was superintendent in Sondershausen; but shortly after the death of Gerhard (1637) he was, in accordance with Gerhard's last wish, appointed to succeed him at Jena. In 1640, however, at the earnest invitation of Duke Ernest the Pious, he removed to Gotha as court preacher and general superintendent in the execution of important reforms which had been initiated in the ecclesiastical and educational establishments of the duchy. The delicate duties attached to this office he discharged with tact and energy; and in the "syncretistic" controversy, by which Protestant Germany was so long vexed, he showed an unusual combination of firmness with liberality, of loyalty to the past with a just regard to the demands of the present and the future. He died on the 27th of July 1656.

His principal work, _Philologia sacra_ (1623), marks the transition from the earlier views on questions of biblical criticism to those of the school of Spener. It was more than once reprinted during his lifetime, and appeared in a new and revised form, edited by J. A. Dathe (1731-1791) and G. L. Bauer at Leipzig. Glassius succeeded Gerhard as editor of the Weimar _Bibelwerk_, and wrote the commentary on the poetical books of the Old Testament for that publication. A volume of his _Opuscula_ was printed at Leiden in 1700.

See the article in Herzog-Hauck, _Realencyklopadie_.

GLASSWORT, a name given to _Salicornia herbacea_ (also known as marsh samphire), a salt-marsh herb with succulent, jointed, leafless stems, in reference to its former use in glass-making, when it was burnt for barilla. _Salsola Kali_, an allied plant with rigid, fleshy, spinous-pointed leaves, which was used for the same purpose, was known as prickly glasswort. Both plants are members of the natural order Chenopodiaceae.

GLASTONBURY, a market town and municipal borough in the Eastern parliamentary division of Somersetshire, England, on the main road from London to Exeter, 37 m. S.W. of Bath by the Somerset & Dorset railway. Pop. (1901) 4016. The town lies in the midst of orchards and water-meadows, reclaimed from the fens which encircled Glastonbury Tor, a conical height once an island, but now, with the surrounding flats, a peninsula washed on three sides by the river Brue.

The town is famous for its abbey, the ruins of which are fragmentary, and as the work of destruction has in many places descended to the very foundations it is impossible to make out the details of the plan. Of the vast range of buildings for the accommodation of the monks hardly any part remains except the abbot's kitchen, noteworthy for its octagonal interior (the exterior plan being square, with the four corners filled in with fireplaces and chimneys), the porter's lodge and the abbey barn. Considerable portions are standing of the so-called chapel of St Joseph at the west end, which has been identified with the Lady chapel, occupying the site of the earliest church. This chapel, which is the finest part of the ruins, is Transitional work of the 12th century. It measures about 66 ft. from east to west and about 36 from north to south. Below the chapel is a crypt of the 15th century inserted beneath a building which had no previous crypt. Between the chapel and the great church is an Early English building which appears to have served as a Galilee porch. The church itself was a cruciform structure with a choir, nave and transepts, and a tower surmounting the centre of intersection. From east to west the length was 410 ft. and the breadth of the nave was about 80 ft. The nave had ten bays and the choir six. Of the nave three bays of the south side are still standing, and the windows have pointed arches externally and semicircular arches internally. Two of the tower piers and a part of one arch give some indication of the grandeur of the building. The foundations of the Edgar chapel, discovered in 1908, make the whole church the longest of cathedral or monastic churches in the country. The old clock, presented to the abbey by Adam de Sodbury (1322-1335), and noteworthy as an early example of a clock striking the hours automatically with a count-wheel, was once in Wells cathedral, but is now preserved in the Victoria and Albert Museum.

The Glastonbury thorn, planted, according to the legend, by Joseph of Arimathea, has been the object of considerable comment. It is said to be a distinct variety, flowering twice a year. The actual thorn visited by the pilgrims was destroyed about the Reformation time, but specimens of the same variety are still extant in various parts of the country.

The chief buildings, apart from the abbey, are the church of St John Baptist, Perpendicular in style, with a fine tower and some 15th-century monuments; St Benedict's, dating from 1493-1524; St John's hospital, founded 1246; and the George Inn, built in the time of Henry VII. or VIII. The present stone cross replaced a far finer one of great age, which had fallen into decay. The Antiquarian Museum contains an excellent collection, including remains from a prehistoric village of the marshes, discovered in 1892, and consisting of sixty mounds within a space of five acres. There is a Roman Catholic missionaries' college. In the 16th century the woollen industry was introduced by the duke of Somerset; and silk manufacture was carried on in the 18th century. Tanning and tile-making, and the manufacture of boots and sheep-skin rugs are practised. The town is governed by a mayor, 4 aldermen and 12 councillors. Area, 5000 acres.

The lake-village discovered in 1892 proves that there was a Celtic settlement about 300-200 B.C. on an island in the midst of swamps, and therefore easily defensible. British earthworks and Roman roads and relics prove later occupation. The name of Glastonbury, however, is of much later origin, being a corruption of the Saxon _Glaestyngabyrig_. By the Britons the spot seems to have been called Ynys yr Afalon (latinized as Avallonia) or Ynysvitrin (see AVALON), and it became the local habitation of various fragments of Celtic romance. According to the legends which grew up under the care of the monks, the first church of Glastonbury was a little wattled building erected by Joseph of Arimathea as the leader of the twelve apostles sent over to Britain from Gaul by St Philip. About a hundred years later, according to the same authorities, the two missionaries, Phaganus and Deruvianus, who came to king Lucius from Pope Eleutherius, established a fraternity of anchorites on the spot, and after three hundred years more St Patrick introduced among them a regular monastic life. The British monastery founded about 601 was succeeded by a Saxon abbey built by Ine in 708. From the decadent state into which Glastonbury was brought by the Danish invasions it was recovered by Dunstan, who had been educated within its walls and was appointed its abbot about 946. The church and other buildings of his erection remained till the installation, in 1082, of the first Norman abbot, who inaugurated the new epoch by commencing a new church. His successor Herlewin (1101-1120), however, pulled it down to make way for a finer structure. Henry of Blois (1126-1172) added greatly to the extent of the monastery. In 1184 (on 25th May) the whole of the buildings were laid in ruins by fire; but Henry II. of England, in whose hands the monastery then was, entrusted his chamberlain Rudolphus with the work of restoration, and caused it to be carried out with much magnificence. The great church of which the ruins still remain was then erected. In the end of the 12th century, and on into the following, Glastonbury was distracted by a strange dispute, caused by the attempt of Savaric, the ambitious bishop of Bath, to make himself master of the abbey. The conflict was closed by the decision of Innocent III., that the abbacy should be merged in the new see of Bath and Glastonbury, and that Savaric should have a fourth of the property. On Savaric's death his successor gave up the joint bishopric and allowed the monks to elect their own abbot. From this date to the Reformation the monastery, one of the chief Benedictine abbeys in England, continued to flourish, the chief events in its history being connected with the maintenance of its claims to the possession of the bodies or tombs of King Arthur and St Dunstan. From early times through the middle ages it was a place of pilgrimage. As early at least as the beginning of the 11th century the tradition that Arthur was buried at Glastonbury appears to have taken shape; and in the reign of Henry II., according to Giraldus Cambrensis and others, the abbot Henry de Blois, causing search to be made, discovered at the depth of 16 ft. a massive oak trunk with an inscription "Hic jacet sepultus inclitus rex Arthurus in insula Avalonia." After the fire of 1184 the monks asserted that they were in possession of the remains of St Dunstan, which had been abstracted from Canterbury after the Danish sack of 1011 and kept in concealment ever since. The Canterbury monks naturally denied the assertion, and the contest continued for centuries. In 1508 Warham and Goldston having examined the Canterbury shrine reported that it contained all the principal bones of the saint, but the abbot of Glastonbury in reply as stoutly maintained that this was impossible. The day of such disputes was, however, drawing to a close. In 1539 the last and 60th abbot of Glastonbury, Robert Whyting, was lodged in the Tower on account of "divers and sundry treasons." "The 'account' or 'book' of his treasons ... seems to be lost, and the nature of the charges ... can only be a matter of speculation" (Gairdner, _Cal. Pap._ on Hen. VIII., xiv. ii. _pref._ xxxii). He was removed to Wells, where he was "arraigned and next day put to execution for robbing of Glastonbury church." The execution took place on Glastonbury Tor. His body was quartered and his head fixed on the abbey gate. A darker passage does not occur in the annals of the English Reformation than this murder of an able and high-spirited man, whose worst offence was that he defended as best he could from the hand of the spoiler the property in his charge.

In 1907, the site of the abbey with the remains of the buildings, which had been in private hands since the granting of the estate to Sir Peter Carew by Elizabeth in 1559, was bought by Mr Ernest Jardine for the purpose of transferring it to the Church of England. Bishop Kennion of Bath and Wells entered into an agreement to raise a sum of L31,000, the cost of the purchase; this was completed, and the site and buildings were formally transferred at a dedicatory service in 1909 to the Diocesan Trustees of Bath and Wells, who are to hold and manage the property according to a deed of trust. This deed provided for the appointment of an advisory council, consisting of the archbishop of Canterbury, the bishop of Bath and Wells and four other bishops, each with power to nominate one clerical and one lay member. The council has the duty of deciding the purpose for which the property is to be used "in connexion with and for the benefit of the Church of England." To give time for further collection of funds and deliberation, the property was re-let for five years to the original purchaser.

In the 8th century Glastonbury was already a borough owned by the abbey, which continued to be overlord till the Dissolution. The abbey obtained charters in the 7th century, but the town received its first charter from Henry II., who exempted the men of Glastonbury from the jurisdiction of royal officials and freed them from certain tolls. This was confirmed by Henry III. in 1227, by Edward I. in 1278, by Edward II. in 1313 and by Henry VI. in 1447. The borough was incorporated by Anne in 1706, and the corporation was reformed by the act of 1835. In 1319 Glastonbury received a writ of summons to parliament, but made no return, and has not since been represented. A fair on the 8th of September was granted in 1127; another on the 29th of May was held under a charter of 1282. Fairs known as Torr fair and Michaelmas fair are now held on the second Mondays in September and October and are chiefly important for the sale of horses and cattle. The market day every other Monday is noted for the sale of cheese. Glastonbury owed its medieval importance to its connexion with the abbey. At the Dissolution the introduction of woollen manufacture checked the decay of the town. The cloth trade flourished for a century and was replaced by silk-weaving, stocking-knitting and glove-making, all of which have died out.

See Abbot Gasquet. _Henry VIII. and the English Monasteries_ (1906), and _The Last Abbot of Glastonbury_ (1895 and 1908); William of Malmesbury, "De antiq. Glastoniensis ecclesiae," in _Rerum Anglicarum script. vet._ tom. i. (1684) (also printed by Hearne and Migne); John of Glastonbury, _Chronica sive de hist. de rebus Glast._, ed. by Hearne (2 vols., Oxford, 1726); Adam of Domerham, _De rebus gestis Glast._, ed. by Hearne (2 vols., Oxford, 1727); _Hist. and Antiq. of Glast._ (London, 1807); _Avalonian Guide to the Town of Glastonbury_ (8th ed., 1839); Warner, _Hist. of the Abbey and Town_ (Bath, 1826); Rev. F. Warre, "Glastonbury Abbey," in _Proc. of Somersetshire_ _Archaeol. and Nat. Hist. Soc._, 1849; Rev. F. Warre, "Notice of Ruins of Glastonbury Abbey," ib. 1859; Rev. W. A. Jones, "On the Reputed Discovery of King Arthur's Remains at Glastonbury," ib. 1859; Rev. J. R. Green, "Dunstan at Glastonbury" and "Giso and Savaric," ib. 1863; Rev. Canon Jackson, "Savaric, Bishop of Bath and Glastonbury," ib. 1862, 1863; E. A. Freeman, "King Ine," ib. 1872 and 1874; Dr W. Beattie, in _Journ. of Brit. Archaeol. Ass._ vol. xii., 1856; Rev. R. Willis, _Architectural History of Glastonbury Abbey_ (1866); W. H. P. Greswell, _Chapters on the Early History of Glastonbury Abbey_ (1909); Views and plans of the abbey building will be found in Dugdale's _Monasticon_ (1655); Stevens's _Monasticon_ (1720); Stukeley, _Itinerarium curiosum_ (1724); Grose, _Antiquities_ (1754); Carter, _Ancient Architecture_ (1800); Storer, _Antiq. and Topogr. Cabinet_, ii., iv., v. (1807), &c.; Britton's _Architectural Antiquities_, iv. (1813); _Vetusta monumenta_, iv. (1815); and _New Monasticon_, i. (1817).

GLATIGNY, JOSEPH ALBERT ALEXANDRE (1830-1873), French poet, was born at Lillebonne (Seine Inferieure) on the 21st of May 1839. His father, who was a carpenter and afterwards a gendarme, removed in 1844 to Bernay, where Albert received an elementary education. Soon after leaving school he was apprenticed to a printer at Pont Audemer, where he produced a three-act play at the local theatre. He then joined a travelling company of actors to whom he acted as prompter. Inspired primarily by the study of Theodore de Banville, he published his _Vignes folles_ in 1857; his best collection of lyrics, _Les Fleches d'or_, appeared in 1864; and a third volume, _Gilles et pasquins_, in 1872. After Glatigny settled in Paris he improvised at cafe concerts and wrote several one-act plays. On an expedition to Corsica with a travelling company he was on one occasion arrested and put in irons for a week through being mistaken by the police for a notorious criminal. His marriage with Emma Dennie brought him great happiness, but the hardships of his life weakened his health and he died at Sevres on the 16th of April 1873.

See Catulle Mendes, _Legende du Parnasse contemporain_ (1884), and _Glatigny, drame funambulesque_ (1906).

GLATZ (Slav. _Kladsko_), a fortified town of Germany, in the Prussian province of Silesia, in a narrow valley on the left bank of the Neisse, not far from the Austrian frontier, 58 m. S.W. from Breslau by rail. Pop. (1905) 16,051. The town with its narrow streets winds up the fortified hill which is crowned by the old citadel. Across the river, on the Schaferberg, lies a more modern fortress built by the Prussians about 1750. Before the town on both banks of the river there is a fortified camp by which bombardment from the neighbouring heights can be hindered and which affords accommodation for 10,000 men. The inner ceinture of walls was razed in 1891 and their site is now occupied by new streets. There are a Lutheran and two Roman Catholic churches, one of which, the parish church, contains the monuments of seven Silesian dukes. Among the other buildings the principal are the Royal Catholic gymnasium and the military hospital. The industries include machine shops, breweries, and the manufacture of spirits, linen, damask, cloth, hosiery, beads and leather.

Glatz existed as early as the 10th century, and received German settlers about 1250. It was besieged several times during the Thirty Years' War and during the Seven Years' War and came into the possession of Prussia in 1742. In 1821 and 1883 great devastation was caused here by floods. The county of Glatz was long contended for by the kingdoms of Poland and of Bohemia. Eventually it became part of the latter country, and in 1534 was sold to the house of Habsburg, from whom it was taken by Frederick the Great during his attack on Silesia.

See Ludwig, _Die Grafschaft Glatz in Wort und Bild_ (Breslau, 1897); Kutzen, _Die Grafschaft Glatz_ (Glogau, 1873); and _Geschichtsquellen der Grafschaft Glatz_, edited by F. Volkmer and Hohaus (1883-1891).

GLAUBER, JOHANN RUDOLF (1604-1668), German chemist, was born at Karlstadt, Bavaria, in 1604 and died at Amsterdam in 1668. Little more is known of his life than that he resided successively in Vienna, Salzburg, Frankfurt and Cologne before settling in Holland, where he made his living chiefly by the sale of secret chemical and medicinal preparations. Though his writings abound in universal solvents and other devices of the alchemists, he made some real contributions to chemical knowledge. Thus he clearly described the preparation of hydrochloric acid by the action of oil of vitriol on common salt, the manifold virtues of sodium sulphate--_sal mirabile_, Glauber's salt--formed in the process being one of the chief themes of his _Miraculum mundi_; and he noticed that nitric acid was formed when nitre was substituted for the common salt. Further he prepared a large number of substances, including the chlorides and other salts of lead, tin, iron, zinc, copper, antimony and arsenic, and he even noted some of the phenomena of double decomposition. He was always anxious to turn his knowledge to practical account, whether in preparing medicines, or in furthering industrial arts such as dyeing, or in increasing the fertility of the soil by artificial manures. One of his most notable works was his _Teutschlands Wohlfarth_ in which he urged that the natural resources of Germany should be developed for the profit of the country and gave various instances of how this might be done.

His treatises, about 30 in number, were collected and published at Frankfort in 1658-1659, at Amsterdam in 1661, and, in an English translation by Packe, at London in 1689.

GLAUBER'S SALT, decahydrated sodium sulphate, Na2SO4, 10H2O. It is said by J. Kunkel to have been known as an _arcanum_ or secret medicine to the electoral house of Saxony in the middle of the 16th century, but it was first described by J. R. Glauber (_De natura salium_, 1658), who prepared it by the action of oil of vitriol or sulphuric acid on common salt, and, ascribing to it many medicinal virtues, termed it _sal mirabile Glauberi_. As the mineral thenardite or mirabilite, which crystallizes in the rhombic system, it occurs in many parts of the world, as in Spain, the western states of North America and the Russian Caucasus; in the last-named region, about 25 m. E. of Tiflis, there is a thick bed of the pure salt about 5 ft. below the surface, and at Balalpashinsk there are lakes or ponds the waters of which are an almost pure solution. The substance is the active principle of many mineral waters, e.g. Frederickshall; it occurs in sea-water and it is a constant constituent of the blood. In combination with calcium sulphate, it constitutes the mineral glauberite or brongniartite, Na2SO4.CaSO4, which assumes forms belonging to the monoclinic system and occurs in Spain and Austria. It has a bitter, saline, but not acrid taste. At ordinary temperatures it crystallizes from aqueous solutions in large colourless monoclinic prisms, which effloresce in dry air, and at 35 deg.C. melt in their water of crystallization. At 100 deg. they lose all their water, and on further heating fuse at 843 deg. Its maximum solubility in water is at 34 deg.; above that temperature it ceases to exist in the solution as a decahydrate, but changes to the anhydrous salt, the solubility of which decreases with rise of temperature. Glauber's salt readily forms supersaturated solutions, in which crystallization takes place suddenly when a crystal of the salt is thrown in; the same effect is obtained by exposure to the air or by touching the solution with a glass rod. In medicine it is employed as an aperient, and is one of the safest and most innocuous known. For children it may be mixed with common salt and the two be used with the food without the child being conscious of any difference. Its simulation of the taste of common salt also renders it suitable for administration to insane patients and others who refuse to take any drug. If, however, its presence is recognized sodium phosphate may be substituted.

GLAUCHAU, a town of Germany, in the kingdom of Saxony, on the right bank of the Mulde, 7 m. N. of Zwickau and 17 W. of Chemnitz by rail. Pop. (1875) 21,743; (1905) 24,556. It has important manufactures of woollen and half-woollen goods, in regard to which it occupies a high position in Germany. There are also dye-works, print-works, and manufactories of paper, linen, thread and machinery. Glauchau possesses a high grade school, elementary schools, a weaving school, an orphanage and an infirmary. Some portions of the extensive old castle date from the 12th century, and the Gottesacker church contains interesting antiquarian relics. Glauchau was founded by a colony of Sorbs and Wends, and belonged to the lords of Schonburg as early as the 12th century.

See R. Hofmann, _Ruckblick uber die Geschichte der Stadt Glauchau_ (1897).

GLAUCONITE, a mineral, green in colour, and chemically a hydrous silicate of iron and potassium. It especially occurs in the green sands and muds which are gathering at the present time on the sea bottom at many different places. The wide extension of these sands and muds was first made known by the naturalists of the "Challenger," and it is now found that they occur in the Mediterranean as well as in the open ocean, but they have not been found in the Black Sea or in any fresh-water lakes. These deposits are not in a true sense abyssal, but are of terrigenous origin, the mud and sand being derived from the wear of the continents, transported by marine currents. The greater part of the mass consists in all cases of minerals such as quartz, felspar (often labradorite), mica, chlorite, with more or less calcite which is probably always derived from shells or other organic sources. Many accessory minerals such as tourmaline and zircon have been identified also, while augite, hornblende and other volcanic minerals occur in varying proportion as in all the sediments of the open sea. The depth in which they accumulate varies a good deal, viz. from 200 up to 2000 fathoms, but as a rule is less than 1000 fathoms, and it is believed that the most common situations are where the continental shores slope rather steeply into moderate depths of water. Many of the blue muds, which owe their colour to fine particles of sulphide of iron, contain also a small quantity of glauconite; in Globigerina oozes this substance has also been found, and in fact there exists every gradation between the glauconitic deposits and the other types of sands and muds which are found at similar depths.

The colouring matter is believed in every case to be glauconite. Other ingredients, such as lime, alumina and magnesia are usually shown to be present by the analyses, but may perhaps be regarded as non-essential: it is impossible to isolate this substance in a pure state as it occurs only in fine aggregates, mixed with other minerals. The glauconite, though crystalline, never occurs well crystallized but only as dense clusters of very minute particles which react feebly on polarized light. They have one well-marked characteristic inasmuch as they often form rounded lumps. In many cases it is certain that these are casts, which fill up the interior of empty shells of Foraminifera. They may be seen occupying these shells, and when the shell is dissolved away perfect casts of glauconite are set free. Apparently in some manner not understood, the decaying organic matter in the shell of the dead organism initiated or favoured the chemical reactions by which the glauconite was formed. That the mineral originated on the sea bottom among the sand and mud is quite certainly established by these facts; moreover, since it is so soft and friable that it is easily powdered up by pressure with the fingers, it cannot have been transported from any great distance by currents. Small rounded glauconite lumps, which are common on the sands but show no trace of having filled the chambers of Foraminifera, may have arisen by a re-deposit of broken-down casts such as have been described; probably slight movement of the deposits, occasioned by currents, may have broken up the glauconite casts and scattered the soft material through the water. Films or stains of glauconite on shells, sand grains and phosphate nodules are explained by a similar deposit of fragmental glauconite.

In a small number of Tertiary and older rocks glauconite occurs as an essential component. It is found in the Pliocene sands of Holland, the Eocene sands of Paris and the "Molasse" of Switzerland, but is much more abundant in the Lower Cretaceous rocks of N. Europe, especially in the subdivision known as the Greensand. Rounded lumps and casts like those of the green sands of the present day are plentiful in these rocks, and it is obvious that the mode of formation was in all respects the same. The green sand when weathered is brown or rusty coloured, the glauconite being oxidized to limonite. Calcareous sands or impure limestones with glauconite are also by no means rare, an example being the well-known Kentish Rag. In the Chalk-rock and Chalk-marl of some parts of England glauconite is rather frequent, and glauconitic chalk is known also in the north of France. Among the oldest rocks which contain this mineral are the Lower Silurian of the St Petersburg district, but it is very rare in the Palaeozoic formations, possibly because it undergoes crystalline change and is also liable to be oxidized and converted into other ferruginous minerals. It has been suggested that certain deposits of iron ores may owe their origin to deposits of glauconite, as for example those of the Mesabi range, Minnesota, U.S.A. (J. S. F.)

GLAUCOUS (Gr. [Greek: glaukos], bright, gleaming), a word meaning of a sea-green colour, in botany covered with bloom, like a plum or a cabbage-leaf.

GLAUCUS ("bright"), the name of several figures in Greek mythology, the most important of which are the following:

1. GLAUCUS, surnamed _Pontius_, a sea divinity. Originally a fisherman and diver of Anthedon in Boeotia, having eaten of a certain magical herb sown by Cronus, he leapt into the sea, where he was changed into a god, and endowed with the gift of unerring prophecy. According to others he sprang into the sea for love of the sea-god Melicertes, with whom he was often identified (Athenaeus vii. 296). He was worshipped not only at Anthedon, but on the coasts of Greece, Sicily and Spain, where fishermen and sailors at certain seasons watched for his arrival during the night in order to consult him (Pausanias ix. 22). In art he is depicted as a vigorous old man with long hair and beard, his body terminating in a scaly tail, his breast covered with shells and seaweed. He was said to have been the builder and pilot of the Argo, and to have been changed into a god after the fight between the Argonauts and Tyrrhenians. He assisted the expedition in various ways (Athenaeus, loc. cit.; see also Ovid, _Metam._ xiii. 904). Glaucus was the subject of a satyric drama by Aeschylus. He was famous for his amours, especially those with Scylla and Circe.

See the exhaustive monograph by R. Gaedechens, _Glaukos der Meergott_ (1860), and article by the same in Roscher's _Lexikon der Mythologie_; and for Glaucus and Scylla, E. Vinet in _Annali dell' Instituto di Correspondenza archeologica_, xv. (1843).

2. GLAUCUS, usually surnamed _Potnieus_, from Potniae near Thebes, son of Sisyphus by Merope and father of Bellerophon. According to the legend he was torn to pieces by his own mares (Virgil, _Georgics_, iii. 267; Hyginus, _Fab._ 250, 273). On the isthmus of Corinth, and also at Olympia and Nemea, he was worshipped as Taraxippus ("terrifier of horses"), his ghost being said to appear and frighten the horses at the games (Pausanias vi. 20). He is closely akin to Glaucus Pontius, the frantic horses of the one probably representing the stormy waves, the other the sea in its calmer mood. He also was the subject of a lost drama of Aeschylus.

3. GLAUCUS, the son of Minos and Pasiphae. When a child, while playing at ball or pursuing a mouse, he fell into a jar of honey and was smothered. His father, after a vain search for him, consulted the oracle, and was referred to the person who should suggest the aptest comparison for one of the cows of Minos which had the power of assuming three different colours. Polyidus of Argos, who had likened it to a mulberry (or bramble), which changes from white to red and then to black, soon afterwards discovered the child; but on his confessing his inability to restore him to life, he was shut up in a vault with the corpse. Here he killed a serpent which was revived by a companion, which laid a certain herb upon it. With the same herb Polyidus brought the dead Glaucus back to life. According to others, he owed his recovery to Aesculapius. The story was the subject of plays by the three great Greek tragedians, and was often represented in mimic dances.

See Hyginus, _Fab._ 136; Apollodorus iii. 3. 10; C. Hock, _Kreta_, iii. 1829; C. Eckermann, _Melampus_, 1840.

4. GLAUCUS, son of Hippolochus, and grandson of Bellerophon, mythical progenitor of the kings of Ionia. He was a Lycian prince who, along with his cousin Sarpedon, assisted Priam in the Trojan War. When he found himself opposed to Diomedes, with whom he was connected by ties of hospitality, they ceased fighting and exchanged armour. Since the equipment of Glaucus was golden and that of Diomedes brazen, the expression "golden for brazen" (_Iliad_, vi. 236) came to be used proverbially for a bad exchange. Glaucus was afterwards slain by Ajax.

All the above are exhaustively treated by R. Gaedechens in Ersch and Gruber's _Allgemeine Encyclopadie_.

GLAZING.--The business of the glazier may be confined to the mere fitting and setting of glass (q.v.), even the cutting up of the plates into squares being generally an independent art, requiring a degree of tact and judgment not necessarily possessed by the building artificer. The tools generally used by the glazier are the diamond for cutting, laths or straight edges, tee square, measuring rule, glazing knife, hacking knife and hammer, duster, sash tool, two-foot rule and a glazier's cradle for carrying the glass. Glaziers' materials are glass, putty, priming or paint, springs, wash-leather or india-rubber for door panels, size, black. The glass is supplied by the manufacturer and cut to the sizes required for the particular work to be executed. Putty is made of whiting and linseed oil, and is generally bought in iron kegs of 1/2 or 1 cwt.; the putty should always be kept covered over, and when found to be getting hard in the keg a little oil should be put on it to keep it moist. Priming is a thin coat of paint with a small amount of red lead in it. In the majority of cases after the sashes for the windows are fitted they are sent to the glazier's and primed and glazed, and then returned to the job and hung in their proper positions. When priming sashes it is important that the rebates be thoroughly primed, else the putty will not adhere. All wood that is to be painted requires before being primed to have the knots coated with knotting. When the priming is dry, the glass is cut and fitted into its place; each pane should fit easily with about 1/16th in. play all round. The glazier runs the putty round the rebates with his hands, and then beds the glass in it, pushing it down tight, and then further secures it by knocking in small nails, called glaziers' sprigs, on the rebate side. He then trims up the edges of the protruding putty and bevels off the putty on the rebate or outside of the sash with a putty knife. The sash is then ready for painting. Large squares and plate glass are usually inserted when the sashes are hung to avoid risks of breakage. For inside work the panes of glass are generally secured with beads (not with putty), and in the best work these beads are fixed with brass screws and caps to allow of easy removal without breaking the beads and damaging the paint, &c. In the case of glass in door panels where there is much vibration and slamming, the glass is bedded in wash-leather or india-rubber and secured with beads as before mentioned.

Varieties of glass.

The most common glass and that generally used is clear sheet in varying thicknesses, ranging in weight from 15 to 30 oz. per sq. ft. This can be had in several qualities of English or foreign manufacture. But there are many other varieties--obscured, fluted, enamelled, coloured and ornamental, rolled and rough plate, British polished plate, patent plate, fluted rolled, quarry rolled, chequered rough, and a variety of figured rolled, and stained glass, and crown-glass with bulls'-eyes in the centre.

Lead light glazing is the glazing of frames with small squares of glass, which are held together by reticulations of lead; these are secured by means of copper wire to iron saddle bars, which are let into mortices in the wood frames or stone jambs. This is formed with strips of lead, soldered at the angles; the glass is placed between the strips and the lead flattened over the edges of glass to secure it. This is much used in public buildings and private residences. In Weldon's method the saddle bars are bedded in the centre of the strips of lead, thus strengthening the frame of lead strips and giving a better appearance.

_Wired rolled plate or wired cast plate_, usually 1/4 in. thick, has wire netting embedded in it to prevent the glass from falling in the case of fire; its use is obligatory in London for all lantern and skylights, screens and doors on the staircases of public and warehouse buildings, in accordance with the London Building Act. It is also used for the decks of ships and for port and cabin lights, as it is much stronger than plain glass, and if fractured is held together by the wire.

Patent prismatic rolled glass, or "refrax" (fig. 1), consists of an effectual application of the well-known properties of the prism; it absorbs all the light that strikes the window opening, and diffuses it in the most efficient manner possible in the darkest portions of the apartment. It can be fixed in the ordinary way or placed over the existing glass.

[Illustration: FIG. 1.--Prism Window Glass.]

Pavement lights (fig. 2) and stallboard lights are constructed with iron frames in small squares and glazed with thick prismatic glass, and are used to light basements. They are placed on the pavement and under shop fronts in the portion called the stallboard, and are also inserted in iron coal plates.

Great skill has of late years been displayed in the ornamentation of glass such as is seen in public saloons, restaurants, &c., as, for instance, in bevelling the edges, silvering, brilliant cutting, embossing, bending, cutting shelving to fancy shapes and polishing, and in glass ventilators.

[Illustration: FIG. 2.--Section through Prism Pavement Light, the direction of light rays being indicated by arrows.]

Roof glazing.

There are several patent methods of roof glazing, such as are applied to railway stations, studios and printing and other factories requiring light. Some of the first patents of this kind were erected with wood glazing bars; these were unsightly, since they required to be of large sectional area when spanning a distance of 7 or 8 ft., and also required to be constantly painted. This was a source of trouble; the roof was constantly leaking and, moreover, it was not fire-resisting.

Of subsequent patents one includes the use of steel T-bars, in which the glass is bedded and covered with a capping of copper or zinc secured with bolts and nuts. Another employs steel bars covered with lead; and this is a very good method, as the bars are of small section, require no painting, and are also fire-resisting. There is one reason for preferring wood to steel, namely, that wood does not expand and contract like steel does. After the sun has been on steel bars, especially those in long lengths, they tend to buckle and then when cold contract, thus getting out of shape; there is also the possibility that when expanding they may break the glass. This is more noticeable in the case of iron ventilating frames in this glazing, which after having weathered for a year or two will begin to get out of shape and so give trouble in opening and closing.

Care should be taken not to fit the glass in iron bars tightly, but a good 1/8th in. play all round should be allowed. A few of the systems of patent roof glazing will be described in the following pages, together with illustrations.

[Illustration: FIG. 3.--"British Challenge" Glazing.]

[Illustration: FIG. 4.--Mellowes' Glazing.]

The system of glazing known as the "British Challenge" (fig. 3), with steel bars encased with a sheeting of 4-lb. lead, is very simple and durable, needs no painting, and can be fixed at as much as 8 ft. clear bearings, with the bars spaced 2 ft. apart. The ends of the bars rest on the wood or steel purlins or plates, and are either notched and screwed down, or simply fitted with a bracket which is screwed. The bar is of T section with condensation grooves, and the lead wings on top are turned down on to the glass after fitting. This lead-covered steel bar is a great improvement on the plain steel bar as it is entirely unaffected by smoke, acids or exhaust fumes from steam engines; this is important in the case of a railway station, where the fumes would otherwise eat the steel away and so weaken the bars that in time they would snap. Another somewhat similar system is known as "Mellowes' Eclipse Roof Glazing" (fig. 4). It consists of steel T-bars having lead wings on top to turn on to the glass in a similar manner to the last, the top wings being double and the underside of the bar having an additional wing to catch the condensation. The Heywood combination system (fig. 5) is composed of galvanized steel T-bars, sometimes encased in lead and sometimes partly encased. It has a capping and condensation gutters of lead, and the glass is bedded on asbestos packing to get a better bearing edge, so as to be held more securely. Hope's glazing is very similar, but the bars are either T or cross according to the span. The "Perfection" glazing used by Messrs Helliwell & Co. (fig. 6) is composed of steel shaped T bars with copper capping, secured with bolts and nuts and having asbestos packing on top of the glass under the edges of the capping. Pennycook's glazing is composed of steel shaped T bars encased with lead and lead wings. Rendle's "Invincible" glazing (fig. 7) is composed of steel T bars with specially shaped copper water and condensation channels, all formed in the one piece and resting on top of the T steel; the glass rests on the zinc channel, and a copper capping is fixed over the edges of the glass and secured with bolts and nuts. Deard's glazing is very similar, and is composed of T steel encased with lead; it claims to save all drilling for fixing to iron roofs. There are also other systems composed of wood bars with condensation gutter and capping of copper secured with bolts and nuts, and asbestos packing with slight differences in some minor matters, but these systems are but little used.

[Illustration: FIG. 5.--Heywood's Glazing.]

[Illustration: FIG. 6.--Helliwell's "Perfection" Glazing.]

[Illustration: FIG. 7.--Rendle's "Invincible" Glazing.]

Cloisonne glass is a patent ornamental glass formed by placing two pieces flat against each other enclosing a species of glass mosaic. Designs are worked and shaped in gilt wire and placed on one sheet of glass; the space between the wire is then filled in with coloured beads, and another sheet of glass is placed on top of it to keep them in position, and the edges of the glass are bound with linen, &c., to keep them firmly together.

Use in building.

Glass is now used for decorative purposes, such as wall tiling and ceilings; it is coloured and decorated in almost any shade and presents a very effective appearance. An invention has been patented for building houses entirely of glass; the walls are constructed of blocks or bricks of opaque glass, the several walls being varied in thickness according to the constructional requirements.

It is certainly true that daylight has much to do with the sanitary condition of all buildings, and this being so the proper distribution of daylight to a building is of the greatest possible importance, and must be effected by an ample provision of windows judiciously arranged. The heads of all windows should be kept as near the ceiling as possible, as well to obtain easy ventilation as to ensure good lighting. As far as is practicable a building should be planned so that each room receives the sun's rays for some part of the day. This is rarely an easy matter, especially in towns where the aspect of the building is out of the architect's hands. The best sites for light are found in streets running north and south and east and west, and lighting areas or courts in buildings should always if possible be arranged on these lines. The task of adequately lighting lofty city buildings has been greatly minimized by the introduction of many forms of reflecting and intensifying contrivances, which are used to deflect light into those apartments into which daylight does not directly penetrate, and which would otherwise require the use of artificial light to render them of any use; the most useful of these inventions are the various forms of prism glass already referred to and illustrated in this article.

See L. F. Day, _Stained and Painted Class_; and W. Eckstein, _Interior Lighting_. (J. Bt.)

GLAZUNOV, ALEXANDER CONSTANTINOVICH (1865- ), Russian musical composer, was born in St Petersburg on the 10th of August 1865, his father being a publisher and bookseller. He showed an early talent for music, and studied for a year or so with Rimsky-Korsakov. At the age of sixteen he composed a symphony (afterwards elaborated and published as _op._ 5), but his _opus_ 1 was a quartet in D, followed by a pianoforte suite on _S-a-c-h-a_, the diminutive of his name Alexander. In 1884 he was taken up by Liszt, and soon became known as a composer. His first symphony was played that year at Weimar, and he appeared as a conductor at the Paris exhibition in 1889. In 1897 his fourth and fifth symphonies were performed in London under his own conducting. In 1900 he became professor at the St Petersburg conservatoire. His separate works, including orchestral symphonies, dance music and songs, make a long list. Glazunov is a leading representative of the modern Russian school, and a master of orchestration; his tendency as compared with contemporary Russian composers is towards classical form, and he was much influenced by Brahms, though in "programme music" he is represented by such works as his symphonic poems _The Forest_, _Stenka Razin_, _The Kremlin_ and his suite _Aus dem Mittelalter_. His ballet music, as in _Raymonda_, achieved much popularity.

GLEBE (Lat. _glaeba_, _gleba_, clod or lump of earth, hence soil, land), in ecclesiastical law the land devoted to the maintenance of the incumbent of a church. Burn (_Ecclesiastical Law, s.v._ "Glebe Lands") says: "Every church of common right is entitled to house and glebe, and the assigning of them at the first was of such absolute necessity that without them no church could be regularly consecrated. The house and glebe are both comprehended under the word _manse_, of which the rule of the canon law is, _sancitum est ut unicuique ecclesiae unus mansus integer absque ullo servitio tribuatur_." In the technical language of English law the fee-simple of the glebe is said to be in _abeyance_, that is, it exists "only in the remembrance, expectation and intendment of the law." But the freehold is in the parson, although at common law he could alienate the same only with proper consent,--that is, in his case, with the consent of the bishop. The disabling statutes of Elizabeth (Alienation by Bishops, 1559, and Dilapidations, &c., 1571) made void all alienations by ecclesiastical persons, except leases for the term of twenty-one years or three lives. By an act of 1842 (5 & 6 Vict. c. 27, Ecclesiastical Leases) glebe land and buildings may be let on lease for farming purposes for fourteen years or on an improving lease for twenty years. But the parsonage house and ten acres of glebe situate most conveniently for occupation must not be leased. By the Ecclesiastical Leasing Acts of 1842 (5 & 6 Vict. c. 108) and 1858 glebe lands may be let on building leases for not more than ninety-nine years and on mining leases for not more than sixty years. The Tithe Act 1842, the Glebe Lands Act 1888 and various other acts make provision for the sale, purchase, exchange and gift of glebe lands. In Scots ecclesiastical law, the manse now signifies the minister's dwelling-house, the glebe being the land to which he is entitled in addition to his stipend. All parish ministers appear to be entitled to a glebe, except the ministers in royal burghs proper, who cannot claim a glebe unless there be a landowner's district annexed; and even in that case, when there are two ministers, it is only the first who has a claim.

See Phillimore, _Ecclesiastical Law_ (2nd ed.); Cripps, _Law of Church and Clergy_; Leach, _Tithe Acts_ (6th ed.); Dart, _Vendors and Purchasers_ (7th ed.).

GLEE, a musical term for a part-song of a particular kind. The word, as well as the thing, is essentially confined to England. The technical meaning has been explained in different ways; but there is little doubt of its derivation through the ordinary sense of the word (i.e. merriment, entertainment) from the A.S. _gleov_, _gleo_, corresponding to Lat. _gaudium_, _delectamentum_, hence _ludus musicus_; on the other hand, a musical "glee" is by no means necessarily a merry composition. Gleeman (A.S. "gleo-man") is translated simply as "musicus" or "cantor," to which the less distinguished titles of "mimus, jocista, scurra," are frequently added in old dictionaries. The accomplishments and social position of the gleeman seem to have been as varied as those of the Provencal "joglar." There are early examples of the word "glee" being used as synonymous with harmony or concerted music. The former explanation, for instance, is given in the _Promptorium parvulorum_, a work of the 15th century. Glee in its present meaning signifies, broadly speaking, a piece of concerted vocal music, generally unaccompanied, and for male voices, though exceptions are found to the last two restrictions. The number of voices ought not to be less than three. As regards musical form, the glee is little distinguished from the catch,--the two terms being often used indiscriminately for the same song; but there is a distinct difference between it and the madrigal--one of the earliest forms of concerted music known in England. While the madrigal does not show a distinction of contrasted movements, this feature is absolutely necessary in the glee. In the madrigal the movement of the voices is strictly contrapuntal, while the more modern form allows of freer treatment and more compact harmonies. Differences of tonality are fully explained by the development of the art, for while the madrigal reached its acme in Queen Elizabeth's time, the glee proper was little known before the Commonwealth; and its most famous representatives belong to the 18th century and the first quarter of the 19th. Among the numerous collections of the innumerable pieces of this kind, only one of the earliest and most famous may be mentioned, _Catch that Catch can, a Choice Collection of Catches, Rounds and Canons, for three and four voices_, published by John Hilton in 1652. The name "glee," however, appears for the first time in John Playford's _Musical Companion_, published twenty-one years afterwards, and reprinted again and again, with additions by later composers--Henry Purcell, William Croft and John Blow among the number. The originator of the glee in its modern form was Dr Arne, born in 1710. Among later English musicians famous for their glees, catches and part-songs, the following may be mentioned:--Attwood, Boyce, Bishop, Crotch, Callcott, Shield, Stevens, Horsley, Webb and Knyvett. The convivial character of the glee led, in the 18th century, to the formation of various societies, which offered prizes and medals for the best compositions of the kind and assembled for social and artistic purposes. The most famous amongst these--The Glee Club--was founded in 1787, and at first used to meet at the house of Mr Robert Smith, in St Paul's churchyard. This club was dissolved in 1857. A similar society--The Catch Club--was formed in 1761 and is still in existence.

GLEICHEN, two groups of castles in Germany, thus named from their resemblance to each other (Ger. _gleich_ = like, or resembling). The first is a group of three, each situated on a hill in Thuringia between Gotha and Erfurt. One of these called Gleichen, the Wanderslebener Gleiche (1221 ft. above the sea), was besieged unsuccessfully by the emperor Henry IV. in 1088. It was the seat of a line of counts, one of whom, Ernest III., a crusader, is the subject of a romantic legend. Having been captured, he was released from his imprisonment by a Turkish woman, who returned with him to Germany and became his wife, a papal dispensation allowing him to live with two wives at the same time (see Reineck, _Die Sage von der Doppelehe eines Grafen von Gleichen_, 1891). After belonging to the elector of Mainz the castle became the property of Prussia in 1803. The second castle is called Muhlburg (1309 ft. above the sea). This existed as early as 704 and was besieged by Henry IV. in 1087. It came into the hands of Prussia in 1803. The third castle, Wachsenburg (1358 ft.), is still inhabited and contains a collection of weapons and pictures belonging to its owner, the duke of Saxe-Coburg-Gotha, whose family obtained possession of it in 1368. It was built about 935 (see Beyer, _Die drei Gleichen_, Erfurt, 1898). The other group consists of two castles, Neuen-Gleichen and Alten-Gleichen. Both are in ruins and crown two hills about 2 m. S.E. from Gottingen.

The name of Gleichen is taken by the family descended from Prince Victor of Hohenlohe-Langenburg through his marriage with Miss Laura Seymour, daughter of Admiral Sir George Francis Seymour, a branch of the Hohenlohe family having at one time owned part of the county of Gleichen.

GLEIG, GEORGE (1753-1840), Scottish divine, was born at Boghall, Kincardineshire, on the 12th of May 1753, the son of a farmer. At the age of thirteen he entered King's College, Aberdeen, where the first prize in mathematics and physical and moral sciences fell to him. In his twenty-first year he took orders in the Scottish Episcopal Church, and was ordained to the pastoral charge of a congregation at Pittenweem, Fife, whence he removed in 1790 to Stirling. He became a frequent contributor to the _Monthly Review_, the _Gentleman's Magazine_, the _Anti-Jacobin Review_ and the _British Critic_. He also wrote several articles for the third edition of the _Encyclopaedia Britannica_, and on the death of the editor, Colin Macfarquhar, in 1793, was engaged to edit the remaining volumes. Among his principal contributions to this work were articles on "Instinct," "Theology" and "Metaphysics." The two supplementary volumes were mainly his own work. He was twice chosen bishop of Dunkeld, but the opposition of Bishop Skinner, afterwards primus, rendered the election on both occasions ineffectual. In 1808 he was consecrated assistant and successor to the bishop of Brechin, in 1810 was preferred to the sole charge, and in 1816 was elected primus of the Episcopal Church of Scotland, in which capacity he greatly aided in the introduction of many useful reforms, in fostering a more catholic and tolerant spirit, and in cementing a firm alliance with the sister church of England. He died at Stirling on the 9th of March 1840.

Besides various sermons, Gleig was the author of _Directions for the Study of Theology_, in a series of letters from a bishop to his son on his admission to holy orders (1827); an edition of _Stackhouse's History of the Bible_ (1817); and a life of Robertson the historian, prefixed to an edition of his works. See _Life of Bishop Gleig_, by the Rev. W. Walker (1879). Letters to Henderson of Edinburgh and John Douglas, bishop of Salisbury, are in the British Museum.

His third and only surviving son, GEORGE ROBERT GLEIG (1796-1888), was educated at Glasgow University, whence he passed with a Snell exhibition to Balliol College, Oxford. He abandoned his scholastic studies to enter the army, and served with distinction in the Peninsular War (1813-14), and in the American War, in which he was thrice wounded. Resuming his work at Oxford, he proceeded B.A. in 1818, M.A. in 1821, and, having been ordained in 1820, held successively curacies at Westwell in Kent and Ash (to the latter the rectory of Ivy Church was added in 1822). He was subsequently appointed chaplain of Chelsea hospital (1824), chaplain-general of the forces (1844-1875) and inspector-general of military schools (1846-1857). From 1848 till his death on the 9th of July 1888 he was prebend of Willesden in St Paul's cathedral. During the last sixty years of his life he was a prolific, if not very scientific, writer; he wrote for _Blackwood's Magazine_ and _Fraser's Magazine_, and produced a large number of historical works.

Among the latter were (besides histories of the campaigns in which he served), _Life of Sir Thomas Munro_ (3 vols., 1830); _History of India_ (4 vols., 1830-1835); _The Leipsic Campaign and Lives of Military Commanders_ (1831); _Story of the Battle of Waterloo_ (1847); _Sketch of the Military History of Great Britain_ (1845); _Sale's Brigade in Afghanistan_ (1847); biographies of Lord Clive (1848), the duke of Wellington (1862), and Warren Hastings (1848; the subject of Macaulay's essay, in which it is described as "three big bad volumes full of undigested correspondence and undiscerning panegyric").

GLEIM, JOHANN WILHELM LUDWIG (1719-1803), German poet, was born on the 2nd of April 1719 at Ermsleben, near Halberstadt. Having studied law at the university of Halle he became secretary to Prince William of Brandenburg-Schwedt at Berlin, where he made the acquaintance of Ewald von Kleist, whose devoted friend he became. When the prince fell at the battle of Prague, Gleim became secretary to Prince Leopold of Dessau; but he soon gave up his position, not being able to bear the roughness of the "Old Dessauer." After residing a few years in Berlin he was appointed, in 1747, secretary of the cathedral chapter at Halberstadt. "Father Gleim" was the title accorded to him throughout all literary Germany on account of his kind-hearted though inconsiderate and undiscriminating patronage alike of the poets and poetasters of the period. He wrote a large number of feeble imitations of Anacreon, Horace and the minnesingers, a dull didactic poem entitled _Halladat oder das rote Buch_ (1774), and collections of fables and romances. Of higher merit are his _Preussische Kriegslieder von einem Grenadier_ (1758). These, which were inspired by the campaigns of Frederick II., are often distinguished by genuine feeling and vigorous force of expression. They are also noteworthy as being the first of that long series of noble political songs in which later German literature is so rich. With this exception, Gleim's writings are for the most part tamely commonplace in thought and expression. He died at Halberstadt on the 18th of February 1803.

Gleim's _Samtliche Werke_ appeared in 7 vols. in the years 1811-1813; a reprint of the _Lieder eines Grenadiers_ was published by A. Sauer in 1882. A good selection of Gleim's poetry will be found in F. Muncker, _Anakreontiker und preussisch-patriotische Lyriker_ (1894). See W. Korte, _Gleims Leben aus seinen Briefen und Schriften_ (1811). His correspondence with Heinse was published in 2 vols. (1894-1896); with Uz (1889), in both cases edited by C. Schuddekopf.

GLEIWITZ, a town of Germany, in the Prussian province of Silesia, on the Klodnitz, and the railway between Oppeln and Cracow, 40 m. S.E. of the former town. Pop. (1875) 14,156; (1905) 61,324. It possesses two Protestant and four Roman Catholic churches, a synagogue, a mining school, a convent, a hospital, two orphanages, and barracks. Gleiwitz is the centre of the mining industry of Upper Silesia. Besides the royal foundry, with which are connected machine manufactories and boiler-works, there are other foundries, meal mills and manufactories of wire, gas pipes, cement and paper.

See B. Nietsche, _Geschichte der Stadt Gleiwitz_ (1886); and Seidel, _Die konigliche Eisengiesserei zu Gleiwitz_ (Berlin, 1896).

GLENALMOND, a glen of Perthshire, Scotland, situated to the S.E. of Loch Tay. It comprises the upper two-thirds of the course of the Almond, or a distance of 20 m. For the greater part it follows a direction east by south, but at Newton Bridge it inclines sharply to the south-east for 3 m., and narrows to such a degree that this portion is known as the Small (or Sma') Glen. At the end of this pass the glen expands and runs eastwards as far as the well-known public school of Trinity College, where it may be considered to terminate. The most interesting spot in the glen is that traditionally known as the grave of Ossian. The district east of Buchanty, near which are the remains of a Roman camp, is said to be the Drumtochty of Ian Maclaren's stories. The mountainous region at the head of the glen is dominated by Ben y Hone or Ben Chonzie (3048 ft. high).

GLENCAIRN, EARLS OF. The 1st earl of Glencairn in the Scottish peerage was ALEXANDER CUNNINGHAM (d. 1488), a son of Sir Robert Cunningham of Kilmaurs in Ayrshire. Made a lord of the Scottish parliament as Lord Kilmaurs not later than 1469, Cunningham was created earl of Glencairn in 1488; and a few weeks later he was killed at the battle of Sauchieburn whilst fighting for King James III. against his rebellious son, afterwards James IV. His son and successor, ROBERT (d. c. 1490), was deprived of his earldom by James IV., but before 1505 this had been revived in favour of Robert's son, CUTHBERT (d. c. 1540), who became 3rd earl of Glencairn, and whose son WILLIAM (c. 1490-1547) was the 4th earl. This noble, an early adherent of the Reformation, was during his public life frequently in the pay and service of England, although he fought on the Scottish side at the battle of Solway Moss (1542), where he was taken prisoner. Upon his release early in 1543 he promised to adhere to Henry VIII., who was anxious to bring Scotland under his rule, and in 1544 he entered into other engagements with Henry, undertaking _inter alia_ to deliver Mary queen of Scots to the English king. However, he was defeated by James Hamilton, earl of Arran, and the project failed; Glencairn then deserted his fellow-conspirator, Matthew Stewart, earl of Lennox, and came to terms with the queen-mother, Mary of Guise, and her party.

William's son, ALEXANDER, the 5th earl (d. 1574), was a more pronounced reformer than his father, whose English sympathies he shared, and was among the intimate friends of John Knox. In March 1557 he signed the letter asking Knox to return to Scotland; in the following December he subscribed the first "band" of the Scottish reformers; and he anticipated Lord James Stewart, afterwards the regent Murray, in taking up arms against the regent, Mary of Guise, in 1558. Then, joined by Stewart and the lords of the congregation, he fought, against the regent, and took part in the attendant negotiations with Elizabeth of England, whom he visited in London in December 1560. When in August 1561 Mary queen of Scots returned to Scotland, Glencairn was made a member of her council; he remained loyal to her after she had been deserted by Murray, but in a few weeks rejoined Murray and the other Protestant lords, returning to Mary's side in 1566. After the queen had married the earl of Bothwell she was again forsaken by Glencairn, who fought against her at Carberry Hill and at Langside. The earl, who was always to the fore in destroying churches, abbeys and other "monuments of idolatry," died on the 23rd of November 1574. His short satirical poem against the Grey Friars is printed by Knox in his _History of the Reformation_.

JAMES, the 7th earl (d. c. 1622), took part in the seizure of James VI., called the raid of Ruthven in 1582. WILLIAM, the 9th earl (c. 1610-1664), a somewhat lukewarm Royalist during the Civil War, was a party to the "engagement" between the king and the Scots in 1647; for this proceeding the Scottish parliament deprived him of his office as lord justice-general, and nominally of his earldom. In March 1653 Charles II. commissioned the earl to command the Royalist forces in Scotland, pending the arrival of General John Middleton, and the insurrection of this year is generally known as Glencairn's rising. After its failure he was betrayed and imprisoned, but although excepted from pardon he was not executed; and when Charles II. was restored he became lord chancellor of Scotland. After a dispute with his former friend, James Sharp, archbishop of St Andrews, he died at Belton in Haddingtonshire on the 30th of May 1664. This earl's son JOHN (d. 1703), who followed his brother Alexander as 11th earl in 1670, was a supporter of the Revolution of 1688. His descendant, JAMES, the 14th earl (1749-1791), is known as the friend and patron of Robert Burns. He performed several useful services for the poet; and when he died on the 30th of January 1791 Burns wrote a _Lament_ beginning, "The wind blew hollow frae the hills," and ending with the lines, "But I'll remember thee, Glencairn, and a' that thou hast done for me." The 14th earl was never married, and when his brother and successor, John, died childless in September 1796 the earldom became extinct, although it was claimed by Sir Adam Fergusson, Bart., a descendant of the 10th earl.

GLENCOE, a glen in Scotland, situated in the north of Argyllshire. Beginning at the north-eastern base of Buchaille Etive, it takes a gentle north-westerly trend for 10 m. to its mouth on Loch Leven, a salt-water arm of Loch Linnhe. On both sides it is shut in by wild and precipitous mountains and its bed is swept by the Coe--Ossian's "dark Cona,"--which rises in the hills at its eastern end. About half-way down the glen the stream forms the tiny Loch Triochatan. Towards Invercoe the landscape acquires a softer beauty. Here Lord Strathcona, who, in 1894, purchased the heritage of the Macdonalds of Glencoe, built his stately mansion of Mount Royal. The principal mountains on the south side are the various peaks of Buachaille Etive, Stob Dearg (3345 ft.), Bidean nam Bian (3756 ft.) and Meall Mor (2215 ft.), and on the northern side the Pap of Glencoe (2430 ft.), Sgor nam Fiannaidh (3168 ft.) and Meall Dearg (3118 ft.). Points of interest are the Devil's Staircase, a steep, boulder-strewn "cut" (1754 ft. high) across the hills to Fort William; the Study; the cave of Ossian, where tradition says that he was born, and the Iona cross erected in 1883 by a Macdonald in memory of his clansmen who perished in the massacre of 1692. About 1 m. beyond the head of the glen is Kingshouse, a relic of the old coaching days, when it was customary for tourists to drive from Ballachulish via Tyndrum to Loch Lomond. Now the Glencoe excursion is usually made from Oban--by rail to Achnacloich, steamer up Loch Etive, coach up Glen Etive and down Glencoe and steamer at Ballachulish to Oban. One mile to the west of the Glen lies the village of BALLACHULISH (pop. 1143). It is celebrated for its slate quarries, which have been worked since 1760. The industry provides employment for 600 men and the annual output averages 30,000 tons. The slate is of excellent quality and is used throughout the United Kingdom. Ballachulish is a station on the Callander and Oban extension line to Fort William (Caledonian railway). The pier and ferry are some 2 m. W. of the village.

GLENCORSE, JOHN INGLIS, Lord (1810-1891), Scottish judge, son of a minister, was born at Edinburgh on the 21st of August 1810. From Glasgow University he went to Balliol College, Oxford. He was admitted a member of the Faculty of Advocates, and soon became known as an eloquent and successful pleader. In 1852 he was made solicitor-general for Scotland in Lord Derby's first ministry, three months later becoming Lord Advocate. In 1858 he resumed this office in Lord Derby's second administration, being returned to the House of Commons as member for Stamford. He was responsible for the Universities of Scotland Act of 1858, and in the same year he was elevated to the bench as lord justice clerk. In 1867 he was made lord justice general of Scotland and lord president of the court of session, taking the title of Lord Glencorse. Outside his judicial duties he was responsible for much useful public work, particularly in the department of higher education. In 1869 he was elected chancellor of Edinburgh University, having already been rector of the university of Glasgow. He died on the 20th August 1891.

GLENDALOUGH, VALE OF, a mountain glen of Co. Wicklow, Ireland, celebrated and frequently visited both on account of its scenic beauty and, more especially, because of the collection of ecclesiastical remains situated in it. Fortunately for its appearance, it is not approached by any railway, but services of cars are maintained to several points, of which Rathdrum, 8-1/2 m. S.E., is the nearest railway station, on the Dublin & South-Eastern. The glen is traversed by the stream of Glenealo, a tributary of the Avonmore, expanding into small loughs, the Upper and the Lower. The former of these is walled by the abrupt heights of Camaderry (2296 ft.) and Lugduff (2176 ft.), and here the extreme narrowness of the valley adds to its grandeur; while lower down, where it widens, the romantic character of the scenery is enhanced by the scattered ruins of the former monastic settlement. These ruins have the collective name of the "Seven Churches." The settlement owed its foundation to the hermit St Kevin, who is reputed to have died on the 3rd of June 618; and it rapidly became a seat of learning of wide fame, but suffered much at the hands of the Danes and the Anglo-Normans. In close proximity to an hotel, and to one another, in an enclosure, are a round tower, one of the finest in Ireland, 110 ft. high and 52 in circumference; St Kevin's kitchen or church (closely resembling the house of St Columba at Kells), which measures 25 ft. by 15, with a high-pitched roof and round belfry--supposed to be the earliest example of its type; and the cathedral, about 73 ft. in total length by 51 in width. This possesses a good square-headed doorway, and an east window of ornate character (the chancel being of later date than the nave), and there are also some early tombs, but the whole is in a decayed condition. In the enclosure are also a Lady chapel, chiefly remarkable for its doorway of wrought granite, in a style of architecture resembling Greek; a priest's house (restored), and slight remains of St Chiaran's church. Here is also St Kevin's cross, a granite monolith never completed; and the enclosure is entered by a fine though dilapidated gateway. Other neighbouring remains are Trinity or the Ivy Church, towards Laragh, with beautiful detailed work; St Saviour's monastery, carefully restored under the direction of the Board of Works, with a chancel arch of three orders (re-erected); while on the shores of the upper lough are Reefert Church, the burial-place of the O'Toole family, and Teampull-na-skellig, the church of the rock. St Kevin's bed is a cave approachable with difficulty, above the lough, probably a natural cavity artificially enlarged, to which attaches the legend of St Kevin's hermitage. Along the valley there are a number of monuments and stone crosses of various sizes and styles. The whole collection forms, with the possible exception of Clonmacnoise in King's county, the most striking monument of monasticism in Ireland.

GLENDOWER, OWEN (c. 1359-1415), the last to claim the title of an independent prince of Wales, more correctly described as Owain ab Gruffydd, lord of Glyndyvrdwy in Merioneth, was a man of good family, with two great houses, Sycharth and Glyndyvrdwy in the north, besides smaller estates in south Wales. His father was called Gruffydd Vychan, and his mother Helen; on both sides he had pretensions to be descended from the old Welsh princes. Owen was probably born about 1359, studied law at Westminster, was squire to the earl of Arundel, and a witness for Grosvenor in the famous Scrope and Grosvenor lawsuit in 1386. Afterwards he was in the service of Henry of Bolingbroke, the future king, though by an error it has been commonly stated that he was squire to Richard II. Welsh sympathies were, however, on Richard's side, and combined with a personal quarrel to make Owen the leader of a national revolt.

The lords of Glyndyvrdwy had an ancient feud with their English neighbours, the Greys of Ruthin. Reginald Grey neglected to summon Owen, as was his duty, for the Scottish expedition of 1400, and then charged him with treason for failing to appear. Owen thereupon took up arms, and when Henry IV. returned from Scotland in September he found north Wales ablaze. A hurried campaign under the king's personal command was ineffectual. Owen's estates were declared forfeit and vigorous measures threatened by the English government. Still the revolt gathered strength. In the spring of 1401 Owen was raiding in south Wales, and credited with the intention of invading England. A second campaign by the king in the autumn was defeated, like that of the previous year, through bad weather and the Fabian tactics of the Welsh. Owen had already been intriguing with Henry Percy (Hotspur), who during 1401 held command in north Wales, and with Percy's brother-in-law, Sir Edmund Mortimer. During the winter of 1401-1402 his plans were further extended to negotiations with the rebel Irish, the Scots and the French. In the spring he had grown so strong that he attacked Ruthin, and took Grey prisoner. In the summer he defeated the men of Hereford under Edmund Mortimer at Pilleth, near Brynglas, in Radnorshire. Mortimer was taken prisoner and treated with such friendliness as to make the English doubt his loyalty; within a few months he married Owen's daughter. In the autumn the English king was for the third time driven "bootless home and weather-beaten back." The few English strongholds left in Wales were now hard pressed, and Owen boasted that he would meet his enemy in the field. Nevertheless, in May 1403 Henry of Monmouth was allowed to sack Sycharth and Glyndyvrdwy unopposed. Owen had a greater plot in hand. The Percies were to rise in arms, and meeting Owen at Shrewsbury, overwhelm the prince before help could arrive. But Owen's share in the undertaking miscarried through his own defeat near Carmarthen on the 12th of July, and Percy was crushed at Shrewsbury ten days later. Still the Welsh revolt was never so formidable. Owen styled himself openly prince of Wales, established a regular government, and called a parliament at Machynlleth. As a result of a formal alliance the French sent troops to his aid, and in the course of 1404 the great castles of Harlech and Aberystwith fell into his hands.

In the spring of 1405 Owen was at the height of his power; but the tide turned suddenly. Prince Henry defeated the Welsh at Grosmont in March, and twice again in May, when Owen's son Griffith and his chancellor were made prisoners. Scrope's rebellion in the North prevented the English from following up their success. The earl of Northumberland took refuge in Wales, and the tripartite alliance of Owen with Percy and Mortimer (transferred by Shakespeare to an earlier occasion) threatened a renewal of danger. But Northumberland's plots and the active help of the French proved ineffective. The English under Prince Henry gained ground steadily, and the recovery of Aberystwith, after a long siege, in the autumn of 1408 marked the end of serious warfare. In February 1409 Harlech was also recaptured, and Owen's wife, daughter and grandchildren were taken prisoners. Owen himself still held out and even continued to intrigue with the French. In July 1415 Gilbert Talbot had power to treat with Owen and his supporters and admit them to pardon. Owen's name does not occur in the document renewing Talbot's powers in February 1416; according to Adam of Usk he died in 1415. Later English writers allege that he died of starvation in the mountains; but Welsh legend represents him as spending a peaceful old age with his sons-in-law at Ewyas and Monington in Herefordshire, till his death and burial at the latter place. The dream of an independent and united Wales was never nearer realization than under Owen's leadership. The disturbed state of England helped him, but he was indeed a remarkable personality, and has not undeservedly become a national hero. Sentiment and tradition have magnified his achievements, and confused his career with tales of portents and magical powers. Owen left many bastard children; his legitimate representative in 1433 was his daughter Alice, wife of Sir John Scudamore of Ewyas.

The facts of Owen's life must be pieced together from scattered references in contemporary chronicles and documents; perhaps the most important are Adam of Usk's _Chronicle_ and Ellis's _Original Letters_. On the Welsh side something is given by the bards Iolo Goch and Lewis Glyn Cothi. For modern accounts consult J. H. Wylie's _History of England under Henry IV._ (4 vols., 1884-1898); A. C. Bradley's popular biography; and Professor Tout's article in the _Dictionary of National Biography_. (C. L. K.)

GLENELG, CHARLES GRANT, BARON (1778-1866), eldest son of Charles Grant (q.v.), chairman of the directors of the East India Company, was born in India on the 26th of October 1778, and was educated at Magdalene College, Cambridge, of which he became a fellow in 1802. Called to the bar in 1807, he was elected member of parliament for the Inverness burghs in 1807, and having gained some reputation as a speaker in the House of Commons, he was made a lord of the treasury in December 1813, an office which he held until August 1819, when he became secretary to the lord-lieutenant of Ireland and a privy councillor. In 1823 he was appointed vice-president of the board of trade; from September 1827 to June 1828 he was president of the board and treasurer of the navy; then joining the Whigs, he was president of the board of control under Earl Grey and Lord Melbourne from November 1830 to November 1834. At the board of control Grant was primarily responsible for the act of 1833, which altered the constitution of the government of India. In April 1835 he became secretary for war and the colonies, and was created Baron Glenelg. His term of office was a stormy one. His differences with Sir Benjamin d'Urban (q.v.), governor of Cape Colony, were serious; but more so were those with King William IV. and others over the administration of Canada. He was still secretary when the Canadian rebellion broke out in 1837; his wavering and feeble policy was fiercely attacked in parliament; he became involved in disputes with the earl of Durham, and the movement for his supercession found supporters even among his colleagues in the cabinet. In February 1839 he resigned, receiving consolation in the shape of a pension of L2000 a year. From 1818 until he was made a peer Grant represented the county of Inverness in parliament, and he has been called "the last of the Canningites." Living mainly abroad during the concluding years of his life, he died unmarried at Cannes on the 23rd of April 1866 when his title became extinct.

Glenelg's brother, SIR ROBERT GRANT (1779-1838), who was third wrangler in 1801, was, like his brother, a fellow of Magdalene College, Cambridge, and a barrister. From 1818 to 1834 he represented various constituencies in parliament, where he was chiefly prominent for his persistent efforts to relieve the disabilities of the Jews.[1] In June 1834 he was appointed governor of Bombay, and he died in India on the 9th of July 1838. Grant wrote a _Sketch of the History of the East India Co._ (1813), and is also known as a writer of hymns.

FOOTNOTE:

[1] Sir S. Walpole (_History of England_, vol. v.) is wrong in stating that Charles Grant introduced bills to remove Jewish disabilities in 1833 and 1834. They were introduced by his brother Robert.

GLENELG, a municipal town and watering place of Adelaide county, South Australia, on Holdfast Bay, 6-1/2 m. by rail S.S.W. of the city of Adelaide. Pop. (1901) 3949. It is a popular summer resort, connected with Adelaide by two lines of railway. In the vicinity is the "Old Gum Tree" under which South Australia was proclaimed British territory by Governor Hindmarsh in 1836.

GLENGARRIFF, or GLENGARIFF ("Rough Glen"), a celebrated resort of tourists in summer and invalids in winter, in the west riding of county Cork, Ireland, on Glengarriff Harbour, an inlet on the northern side of Bantry Bay, 11 m. by coach road from Bantry on the Cork, Bandon & South Coast railway. Beyond its hotels, Glengarriff is only a small village, but the island-studded harbour, the narrow glen at its head and the surrounding of mountains, afford most attractive views, and its situation on the "Prince-of Wales'" route travelled by King Edward VII. in 1848, and on a fine mountain coach road from Macroom, brings it into the knowledge of many travellers to Killarney. Thackeray wrote enthusiastically of the harbour. The glaciated rocks of the glen are clothed with vegetation of peculiar luxuriance, flourishing in the mild climate which has given Glengarriff its high reputation as a health resort for those suffering from pulmonary complaints.

GLEN GREY, a division of the Cape province south of the Stormberg, adjoining on the east the Transkeian Territories. Pop. (1904) 55,107. Chief town Lady Frere, 32 m. N.E. of Queenstown. The district is well watered and fertile, and large quantities of cereals are grown. Over 96% of the inhabitants are of the Zulu-Xosa (Kaffir) race, and a considerable part of the district was settled during the Kaffir wars of Cape Colony by Tembu (Tambookies) who were granted a location by the colonial government in recognition of their loyalty to the British. Act No. 25 of 1894 of the Cape parliament, passed at the instance of Cecil Rhodes, which laid down the basis upon which is effected the change of land tenure by natives from communal to individual holdings, and also dealt with native local self-government and the labour question, applied in the first instance to this division, and is known as the Glen Grey Act (see CAPE COLONY: _History_). The provisions of the act respecting individual land tenure and local self-government were in 1898 applied, with certain modifications, to the Transkeian Territories. The division is named after Sir George Grey, governor of Cape Colony 1854-1861.

GLENS FALLS, a village of Warren county, New York, U.S.A., 55 m. N. of Troy, on the Hudson river. Pop. (1890) 9509; (1900) 12,613, of whom 1762 were foreign-born; (1910 census) 15,243. Glens Falls is served by the Delaware & Hudson and the Hudson Valley (electric) railways. The village contains a state armoury, the Crandall free public library, a Y.M.C.A. building, the Park hospital, an old ladies' home, and St Mary's (Roman Catholic) and Glens Falls (non-sectarian) academies. There are two private parks, open to the public, and a waterworks system is maintained by the village. An iron bridge crosses the river just below the falls, connecting Glens Falls and South Glens Falls (pop. in 1910, 2247). The falls of the Hudson here furnish a fine water-power, which is utilized, in connexion with steam and electricity, in the manufacture of lumber, paper and wood pulp, women's clothing, shirts, collars and cuffs, &c. In 1905 the village's factory products were valued at $4,780,331. About 12 m. above Glens Falls, on the Hudson, a massive stone dam has been erected; here electric power, distributed to a large area, is generated. In the neighbourhood of Glens Falls are valuable quarries of black marble and limestone, and lime, plaster and Portland cement works. Glens Falls was settled about the close of the French and Indian War (1763), and was incorporated as a village in 1839.

GLENTILT, a glen in the extreme north of Perthshire, Scotland. Beginning at the confines of Aberdeenshire, it follows a north-westerly direction excepting for the last 4 m., when it runs due S. to Blair Atholl. It is watered throughout by the Tilt, which enters the Garry after a course of 14 m., and receives on its right the Tarff, which forms some beautiful falls just above the confluence, and on the left the Fender, which has some fine falls also. The attempt of the 6th duke of Atholl (1814-1864) to close the glen to the public was successfully contested by the Scottish Rights of Way Society. The group of mountains--Carn nan Gabhar (3505 ft.), Ben y Gloe (3671) and Carn Liath (3193)--on its left side dominate the lower half of the glen. Marble of good quality is occasionally quarried in the glen, and the rock formation has attracted the attention of geologists from the time of James Hutton.

GLEYRE, MARC CHARLES GABRIEL (1806-1874), French painter, of Swiss origin, was born at Chevilly in the canton of Vaud on the 2nd of May 1806. His father and mother died while he was yet a boy of some eight or nine years of age; and he was brought up by an uncle at Lyons, who sent him to the industrial school of that city. Going up to Paris a lad of seventeen or nineteen, he spent four years in close artistic study--in Hersent's studio, in Suisse's academy, in the galleries of the Louvre. To this period of laborious application succeeded four years of meditative inactivity in Italy, where he became acquainted with Horace Vernet and Leopold Robert; and six years more were consumed in adventurous wanderings in Greece, Egypt, Nubia and Syria. At Cairo he was attacked with ophthalmia, and in the Lebanon he was struck down by fever; and he returned to Lyons in shattered health. On his recovery he proceeded to Paris, and, fixing his modest studio in the rue de Universite, began carefully to work out the conceptions which had been slowly shaping themselves in his mind. Mention is made of two decorative panels--"Diana leaving the Bath," and a "Young Nubian"--as almost the first fruits of his genius; but these did not attract public attention till long after, and the painting by which he practically opened his artistic career was the "Apocalyptic Vision of St John," sent to the Salon of 1840. This was followed in 1843 by "Evening," which at the time received a medal of the second class, and afterwards became widely popular under the title of the Lost Illusions. It represents a poet seated on the bank of a river, with drooping head and wearied frame, letting his lyre slip from a careless hand, and gazing sadly at a bright company of maidens whose song is slowly dying from his ear as their boat is borne slowly from his sight.

In spite of the success which attended these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his own artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the "Separation of the Apostles," he contributed nothing to the Salon except the "Dance of the Bacchantes" in 1849. Yet he laboured steadily and was abundantly productive. He had an "infinite capacity of taking pains," and when asked by what method he attained to such marvellous perfection of workmanship, he would reply, "En y pensant toujours." A long series of years often intervened between the first conception of a piece and its embodiment, and years not unfrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky." Happily for French art this high-toned laboriousness became influential on a large number of Gleyre's younger contemporaries; for when Delaroche gave up his studio of instruction he recommended his pupils to apply to Gleyre, who at once agreed to give them lessons twice a week, and characteristically refused to take any fee or reward. By instinct and principle he was a confirmed celibate: "Fortune, talent, health,--he had everything; but he was married," was his lamentation over a friend. Though he lived in almost complete retirement from public life, he took a keen interest in politics, and was a voracious reader of political journals. For a time, indeed, under Louis Philippe, his studio had been the rendezvous of a sort of liberal club. To the last--amid all the disasters that befell his country--he was hopeful of the future, "la raison finira bien par avoir raison." It was while on a visit to the Retrospective Exhibition, opened on behalf of the exiles from Alsace and Lorraine, that he died suddenly on the 5th of May 1874. He left unfinished the "Earthly Paradise," a noble picture, which Taine has described as "a dream of innocence, of happiness and of beauty--Adam and Eve standing in the sublime and joyous landscape of a paradise enclosed in mountains,"--a worthy counterpart to the "Evening." Among the other productions of his genius are the "Deluge," which represents two angels speeding above the desolate earth, from which the destroying waters have just begun to retire, leaving visible behind them the ruin they have wrought; the "Battle of the Lemanus," a piece of elaborate design, crowded but not cumbered with figures, and giving fine expression to the movements of the various bands of combatants and fugitives; the "Prodigal Son," in which the artist has ventured to add to the parable the new element of mother's love, greeting the repentant youth with a welcome that shows that the mother's heart thinks less of the repentance than of the return; "Ruth and Boaz"; "Ulysses and Nausicaa"; "Hercules at the feet of Omphale"; the "Young Athenian," or, as it is popularly called, "Sappho"; "Minerva and the Nymphs"; "Venus [Greek: pandemos]"; "Daphnis and Chloe"; and "Love and the Parcae." Nor must it be omitted that he left a considerable number of drawings and water-colours, and that we are indebted to him for a number of portraits, among which is the sad face of Heine, engraved in the _Revue des deux mondes_ for April 1852. In Clement's catalogue of his works there are 683 entries, including sketches and studies.

See Fritz Berthoud in _Bibliotheque universelle de Geneve_ (1874); Albert de Montet, _Dict. biographique des Genevois et des Vaudois_ (1877); and _Vie de Charles Gleyre_ (1877), written by his friend, Charles Clement, and illustrated by 30 plates from his works.

GLIDDON, GEORGE ROBINS (1809-1857), British Egyptologist, was born in Devonshire in 1809. His father, a merchant, was United States consul at Alexandria, and there Gliddon was taken at an early age. He became United States vice-consul, and took a great interest in Egyptian antiquities. Subsequently he lectured in the United States and succeeded in rousing considerable attention to the subject of Egyptology generally. He died at Panama in 1857. His chief work was _Ancient Egypt_ (1850, ed. 1853). He wrote also _Memoir on the Cotton of Egypt_ (1841); _Appeal to the Antiquaries of Europe on the Destruction of the Monuments of Egypt_ (1841); _Discourses on Egyptian Archaeology_ (1841); _Types of Mankind_ (1854), in conjunction with J. C. Nott and others; _Indigenous Races of the Earth_ (1857), also in conjunction with Nott and others.

GLINKA, FEDOR NIKOLAEVICH (1788-1849); Russian poet and author, was born at Smolensk in 1788, and was specially educated for the army. In 1803 he obtained a commission as an officer, and two years later took part in the Austrian campaign. His tastes for literary pursuits, however, soon induced him to leave the service, whereupon he withdrew to his estates in the government of Smolensk, and subsequently devoted most of his time to study or travelling about Russia. Upon the invasion of the French in 1812, he re-entered the Russian army, and remained in active service until the end of the campaign in 1814. Upon the elevation of Count Milarodovich to the military governorship of St Petersburg, Glinka was appointed colonel under his command. On account of his suspected revolutionary tendencies he was, in 1826, banished to Petrozavodsk, but he nevertheless retained his honorary post of president of the Society of the Friends of Russian Literature, and was after a time allowed to return to St Petersburg. Soon afterwards he retired completely from public life, and died on his estates in 1849.

Glinka's martial songs have special reference to the Russian military campaigns of his time. He is known also as the author of the descriptive poem _Kareliya_, &c. (_Carelia, or the Captivity of Martha Joanovna_) (1830), and of a metrical paraphrase of the book of Job. His fame as a military author is chiefly due to his _Pisma Russkago Ofitsera_ (_Letters of a Russian Officer_) (8 vols., 1815-1816).

GLINKA, MICHAEL IVANOVICH (1803-1857), Russian musical composer, was born at Novospassky, a village in the Smolensk government, on the 2nd of June 1803. His early life he spent at home, but at the age of thirteen we find him at the Blagorodrey Pension, St Petersburg, where he studied music under Carl Maier and John Field, the Irish composer and pianist, who had settled in Russia. We are told that in his seventeenth year he had already begun to compose romances and other minor vocal pieces; but of these nothing now is known. His thorough musical training did not begin till the year 1830, when he went abroad and stayed for three years in Italy, to study the works of old and modern Italian masters. His thorough knowledge of the requirements of the voice may be connected with this course of study. His training as a composer was finished under the contrapuntist Dehn, with whom Glinka stayed for several months at Berlin. In 1833 he returned to Russia, and devoted himself to operatic composition. On the 27th of September (9th of October) 1836, took place the first representation of his opera _Life for the Tsar_ (the libretto by Baron de Rosen). This was the turning-point in Glinka's life,--for the work was not only a great success, but in a manner became the origin and basis of a Russian school of national music. The story is taken from the invasion of Russia by the Poles early in the 17th century, and the hero is a peasant who sacrifices his life for the tsar. Glinka has wedded this patriotic theme to inspiring music. His melodies, moreover, show distinct affinity to the popular songs of the Russians, so that the term "national" may justly be applied to them. His appointment as imperial chapelmaster and conductor of the opera of St Petersburg was the reward of his dramatic successes. His second opera _Russlan and Lyudmila_, founded on Pushkin's poem, did not appear till 1842; it was an advance upon _Life for the Tsar_ in its musical aspect, but made no impression upon the public. In the meantime Glinka wrote an overture and four entre-actes to Kukolnik's drama _Prince Kholmsky_. In 1844 he went to Paris, and his _Jota Arragonesa_ (1847), and the symphonic work on Spanish themes, _Une Nuit a Madrid_, reflect the musical results of two years' sojourn in Spain. On his return to St Petersburg he wrote and arranged several pieces for the orchestra, amongst which the so-called _Kamarinskaya_ achieved popularity beyond the limits of Russia. He also composed numerous songs and romances. In 1857 he went abroad for the third time; he now wrote his autobiography, orchestrated Weber's _Invitation a la valse_, and began to consider a plan for a musical version of Gogol's _Tarass-Boulba_. Abandoning the idea and becoming absorbed in a passion for ecclesiastical music he went to Berlin to study the ancient church modes. Here he died suddenly on the 2nd of February 1857.

GLINKA, SERGY NIKOLAEVICH (1774-1847), Russian author, the elder brother of Fedor N. Glinka, was born at Smolensk in 1774. In 1796 he entered the Russian army, but after three years' service retired with the rank of major. He afterwards employed himself in the education of youth and in literary pursuits, first in the Ukraine, and subsequently at Moscow, where he died in 1847. His poems are spirited and patriotic; he wrote also several dramatic pieces, and translated Young's _Night Thoughts_.

Among his numerous prose works the most important from an historical point of view are: _Russkoe Chtenie_ (_Russian Reading: Historical Memorials of Russia in the 18th and 19th Centuries_) (2 vols., 1845); _Istoriya Rossii_, &c. (_History of Russia for the use of Youth_) (10 vols., 1817-1819, 2nd ed. 1822, 3rd ed. 1824); _Istoriya Armyan_, &c. (_History of the Migration of the Armenians of Azerbijan from Turkey to Russia_) (1831); and his contributions to the _Russky Vyestnik (Russian Messenger)_, a monthly periodical, edited by him from 1808 to 1820.

GLOBE-FISH, or SEA-HEDGEHOG, the names by which some sea-fishes are known, which have the remarkable faculty of inflating their stomachs with air. They belong to the families Diodontidae and Tetrodontidae. Their jaws resemble the sharp beak of a parrot, the bones and teeth being coalesced into one mass with a sharp edge. In the Diodonts there is no mesial division of the jaws, whilst in the Tetrodonts such a division exists, so that they appear to have two teeth above and two below. By means of these jaws they are able to break off branches of corals, and to masticate other hard substances on which they feed. Usually they are of a short, thick, cylindrical shape, with powerful fins (fig. 1). Their body is covered with thick skin, without scales, but provided with variously formed spines, the size and extent of which vary in the different species. When they inflate their capacious stomachs with air, they assume a globular form, and the spines protrude, forming a more or less formidable defensive armour (fig. 2). A fish thus blown out turns over and floats belly upwards, driving before the wind and waves. Many of these fishes are highly poisonous when eaten, and fatal accidents have occurred from this cause. It appears that they acquire poisonous qualities from their food, which frequently consists of decomposing or poisonous animal matter, such as would impart, and often does impart, similar deleterious qualities to other fish. They are most numerous between the tropics and in the seas contiguous to them, but a few species live in large rivers, as, for instance, the _Tetrodon fahaka_, a fish well known to all travellers on the Nile. Nearly 100 different species are known.

[Illustration: FIG. 1.--Diodon maculatus.]

[Illustration: FIG. 2.--_Diodon maculatus_ (inflated).]

GLOBIGERINA, A. d'Orbigny, a genus of Perforate Foraminifera (q.v.) of pelagic habit, and formed of a conical spiral aggregate of spheroidal chambers with a crescentic mouth. The shells accumulate at the bottom of moderately deep seas to form "Globigerina ooze" and are preserved thus in the chalk. _Hastigerina_ only differs in the "flat" or nautiloid spiral.

GLOCKENSPIEL, or ORCHESTRAL BELLS (Fr. _carillon_; Ger. _Glockenspiel_, _Stahlharmonika_; Ital. _campanelli_; Med. Lat. _tintinnabulum_, _cymbalum_, _bombulum_), an instrument of percussion of definite musical pitch, used in the orchestra, and made in two or three different styles. The oldest form of glockenspiel, seen in illuminated MSS. of the middle ages, consists of a set of bells mounted on a frame and played by one performer by means of steel hammers. The name "bell" is now generally a misnomer, other forms of metal or wood having been found more convenient. The pyramid-shaped glockenspiel, formerly used in the orchestra for simple rhythmical effects, consists of an octave of semitone, hemispherical bells, placed one above the other and fastened to an iron rod which passes through the centre of each, the bells being of graduated sizes and diminishing in diameter as the pitch rises. The lyre-shaped glockenspiel, or steel harmonica (_Stahlharmonika_), is a newer model, which has instead of bells twelve or more bars of steel, graduating in size according to their pitch. These bars are fastened horizontally across two bars of steel set perpendicularly in a steel frame in the shape of a lyre. The bars are struck by little steel hammers attached to whalebone sticks.

Wagner has used the glockenspiel with exquisite judgment in the fire scene of the last act of _Die Walkure_ and in the peasants' waltz in the last scene of _Die Meistersinger_. When chords are written for the glockenspiel, as in Mozart's _Magic Flute_, the keyed harmonica[1] is used. It consists of a keyboard having a little hammer attached to each key, which strikes a bar of glass or steel when the key is depressed. The performer, being able to use both hands, can play a melody with full harmonies, scale and arpeggio passages in single and double notes. A peal of hemispherical bells was specially constructed for Sir Arthur Sullivan's _Golden Legend_. It consists of four bells constructed of bell-metal about 1 in. thick, the largest measuring 27 in. in diameter, the smallest 23. They are fixed on a stand one above the other, with a clearance of about 3/4 in. between them; the rim of the lowest and largest bell is 15 in. from the foot of the stand. The bells are struck by mallets, which are of two kinds--a pair of hard wood for forte passages, and a pair covered with wash-leather for piano effects. The peal was unique at the time it was made for the _Golden Legend_, but a smaller bell of the same shape, 1/4 in. thick, with a diameter measuring about 16 in., specially made for the performance of Liszt's _St Elizabeth_, when conducted by the composer in London, evidently suggested the idea for the peal. (K. S.)

FOOTNOTE:

[1] See "The Keyed Harmonica improved by H. Klein of Pressburg," article in the _Allg. musik. Ztg._, Bd. i. pp. 675-699 (Leipzig, 1798); also Becker, p. 254, _Bartel_.

GLOGAU, a fortified town of Germany, in the Prussian province of Silesia, 59 m. N.W. from Breslau, on the railway to Frankfort-on-Oder. Pop. (1905) 23,461. It is built partly on an island and partly on the left bank of the Oder; and owing to the fortified enceinte having been pushed farther afield, new quarters have been opened up. Among its most important buildings are the cathedral, in the Gothic, and a castle (now used as a courthouse), in the Renaissance style, two other Roman Catholic and three Protestant churches, a new town-hall, a synagogue, a military hospital, two classical schools (_Gymnasien_) and several libraries. Owing to its situation on a navigable river and at the junction of several lines of railway, Glogau carries on an extensive trade, which is fostered by a variety of local industries, embracing machinery-building, tobacco, beer, oil, sugar and vinegar. It has also extensive lithographic works, and its wool market is celebrated.

In the beginning of the 11th century Glogau, even then a populous and fortified town, was able to withstand a regular siege by the emperor Henry V.; but in 1157 the duke of Silesia, finding he could not hold out against Frederick Barbarossa, set it on fire. In 1252 the town, which had been raised from its ashes by Henry I., the Bearded, became the capital of a principality of Glogau, and in 1482 town and district were united to the Bohemian crown. In the course of the Thirty Years' War Glogau suffered greatly. The inhabitants, who had become Protestants soon after the Reformation, were dragooned into conformity by Wallenstein's soldiery; and the Jesuits received permission to build themselves a church and a college. Captured by the Protestants in 1632, and recovered by the Imperialists in 1633, the town was again captured by the Swedes in 1642, and continued in Protestant hands till the peace of Westphalia in 1648, when the emperor recovered it. In 1741 the Prussians took the place by storm, and during the Seven Years' War it formed an important centre of operations for the Prussian forces. After the battle of Jena (1806) it fell into the hands of the French; and was gallantly held by Laplane, against the Russian and Prussian besiegers, after the battle of Katzbach in August 1813 until the 17th of the following April.

See Minsberg, _Geschichte der Stadt und Festung Glogau's_ (2 vols., Glogau, 1853); and H. von Below, _Zur Geschichte des Jahres_ 1806. _Glogau's Belagerung und Verteidigung_ (Berlin, 1893).

GLORIOSA, in botany, a small genus of plants belonging to the natural order Liliaceae, native of tropical Asia and Africa. They are bulbous plants, the slender stems of which support themselves by tendril-like prolongations of the tips of some of the narrow generally lanceolate leaves. The flowers, which are borne in the leaf-axils at the ends of the stem, are very handsome, the six, generally narrow, petals are bent back and stand erect, and are a rich orange yellow or red in colour; the six stamens project more or less horizontally from the place of insertion of the petals. They are generally grown in cultivation as stove-plants.

GLORY (through the O. Fr. _glorie_, modern _gloire_, from Lat. _gloria_, cognate with Gr. [Greek: kleos, kluein]), a synonym for fame, renown, honour, and thus used of anything which reflects honour and renown on its possessor. In the phrase "glory of God" the word implies both the honour due to the Creator, and His majesty and effulgence. In liturgies of the Christian Church are the _Gloria Patri_, the doxology beginning "Glory be to the Father," the response _Gloria tibi, Domine_, "Glory be to Thee, O Lord," sung or said after the giving out of the Gospel for the day, and the _Gloria in excelsis_, "Glory be to God on high," sung during the Mass and Communion service. A "glory" is the term often used as synonymous with halo, nimbus or aureola (q.v.) for the ring of light encircling the head or figure in a pictorial or other representation of sacred persons.