[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.)