Chapter 21

See Fritz Berthoud inBibliothèque universelle de Genève(1874); Albert de Montet,Dict. biographique des Genevois et des Vaudois(1877); andVie de Charles Gleyre(1877), written by his friend, Charles Clément, 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 wasAncient Egypt(1850, ed. 1853). He wrote alsoMemoir 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 poemKareliya, &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 hisPisma 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 operaLife for the Tsar(the libretto by Baronde 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 operaRusslan and Lyudmila, founded on Pushkin’s poem, did not appear till 1842; it was an advance uponLife for the Tsarin its musical aspect, but made no impression upon the public. In the meantime Glinka wrote an overture and four entre-actes to Kukolnik’s dramaPrince Kholmsky. In 1844 he went to Paris, and hisJota Arragonesa(1847), and the symphonic work on Spanish themes,Une Nuit à 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-calledKamarinskayaachieved 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’sInvitation à la valse, and began to consider a plan for a musical version of Gogol’sTarass-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’sNight 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 theRussky Vyestnik(Russian Messenger), a monthly periodical, edited by him from 1808 to 1820.

GLOBE-FISH,orSea-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, theTetrodon 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.Hastigerinaonly differs in the “flat” or nautiloid spiral.

GLOCKENSPIEL,orOrchestral 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 ofDie Walküreand in the peasants’ waltz in the last scene ofDie Meistersinger. When chords are written for the glockenspiel, as in Mozart’sMagic Flute, the keyed harmonica1is 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’sGolden 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 ¾ 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 coveredwith wash-leather for piano effects. The peal was unique at the time it was made for theGolden Legend, but a smaller bell of the same shape, ¼ in. thick, with a diameter measuring about 16 in., specially made for the performance of Liszt’sSt Elizabeth, when conducted by the composer in London, evidently suggested the idea for the peal.

(K. S.)

1See “The Keyed Harmonica improved by H. Klein of Pressburg,” article in theAllg. 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 Jahres1806.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, moderngloire, from Lat.gloria, cognate with Gr.κλεός, κλύειν), 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 theGloria Patri, the doxology beginning “Glory be to the Father,” the responseGloria tibi, Domine, “Glory be to Thee, O Lord,” sung or said after the giving out of the Gospel for the day, and theGloria 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.

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