Chapter IV: PORTION OF A RENAISSANCE WINDOW. From Montmorency, showing the (3)

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.

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.