$H Glabrous.

(Lat. glaber). Smooth, bald.(18= 83m1)

$H Glacis of the Cornice. Architecture

(Arch.) A term denot= ing an inclined surface above a projecting moulding = or cornice. The object of it is to prevent the rain from staying upon the pr= ojecting portion of a building. ILLUS. glacisof(1891a1)

$H Glade.

(Norman glette, a clear spot among clouds). An opening or passage in a wood through which the light may shine.(1883m1)

$H Gladiators.

Gladiators were first exhibited at Rome= , B.C. 264, at a funeral. The practice had its origin in that very ancient = one of slaughtering slaves and captives on such occasions. Subsequently it be= came more general. The different classes of gladiators, distinguished by their arms and other circumstances, were: Andabatae, who wore helmets without any opening for the eyes, and therefore fought blindfold; Essedarii, who fought from chariots (ESSEDAE); Hoplomachai, who wore heavy defensive armour; Laqueatores, who carried a sort of lasso or noose; Meridiani, who fought in the middle of the day, and we= re very slightly armed; Mirmillones, so called from their having the image of a fish (mor= myr) on their helmets; Retiarii, armed with a trident and a net. Others, as Samnites, Thraces, &c., were named from the nation whose fashion of armour they adopted. The fights of gladiators were favourit= e subjects of Roman art, and it is assumed that in cases where no actual combats took place at a funeral, they were represented on the walls of to= mbs in sculpture or paint. The most celebrated statues of the kind are the so= ‑called "Dying Gladiator" in the museum of the capitol at Rome, and the Gladiator of the Borghe= se collection.(1883m1)

Among the Romans, me= n called gladiators were trained to fight to the death for the amusement of the public assembled in the amphitheatre. These displays were enormously popular under the Empire, an= d it is not surprising that they suggested subjects to many Roman artists. We give here two cuts, each of which represents a vanquished gladiator appealing for mercy. The one is f= rom a Pompeian bas‑relief, the other from a vase. The well‑known statue called the "Dying Gladiator" has long since been proved = to be not a gladiator at all, but the statue of a dying Gaul. It is the work of a Pergamene artist, and bel= onged to a group presented by King Attalus to Athens and afterwards removed to Rome. 2 ILLUS. gladiat1, gladiat2(1891a1)=

&nbs= p; &= nbsp;

$H GLADIATORS. Among the Romans, GLADIATORS were men who fought with deadly weapons in t= he amphitheatre and in other places, at various festivals, funerals, &c.= The ancient Etrurians are supposed to have been t= he originators of these classes, which grew out of the custom of sacrificing slaves and retainers on the funeral pyre of their masters. As the taste f= or such sights increased, captives taken in war were pitted against each oth= er, that they might "amuse" their captors until one fell, and the victor thus purchased liberty. Slaves were afterwards trained to the same brutal trade, until it became a regular profession, confined to a certain class - like the bull-fighters of modern Spain. Such men were regula= rly trained to their business - were exercised and dieted to increase their strength and activity - and were under the government of a superintendent, who let them out to hire on great occasions - such as public feasts or funerals - for which sums of money were frequently left by the wealthy in Rome after death, or spent during life, to propitiate their favour. Their costume was peculiar, and may be seen= to much advantage in our cut illustrative of the word CAMPESTRE; it consisted of a helmet, covering the face, with apertures for sight; but the Andabatae are stated to have been unprovided with any m= ode of seeing, that their blundering fights might the more amuse spectators. The= Mirmillones are said to receive that name from the figure of a fish (mormyr) upon their helmets. A high crest and floating tail, like that worn by the= Greeks and Etrurians* was occasionally appended to their helmets. The body was unarmed and nake= d, to give freer motion; the subligaculum or campestre, a kind of kilt or tunic, being fastened rou= nd the waist by a belt, and hanging around the hips. A shield protected the = left arm, the right being covered by flexible bands of leather. The Samnites were distinguished by an oblong shield cur= ved over the arm - the Thracians by the round one; the legs were generally protected or covered by greaves. The Hoplomachi were entirely armed; the Meridiani, who fough= t with wild beasts, very slightly so. The Retiarii w= ore no helmet, and only a tunic and protection for the left arm; their only defence was a net and a three-pronged fork. They dexterously tried to envelop the Mirmillones = and better armed men against whom they were engaged, in this net, and then wounded them with the fork; if they missed doing this, they fled round the arena, trying to prepare the net for another cast, and pursued by their adversary, who would try to kill them before they could make a second attempt. When they entangled their adversary, they struck at him repeated= ly with the fork; but the death-stroke was given by another of his own kind,= as is represented in our cut, from a bas-relief found in a tomb at Pompeii, where t= he man wounded by the Retiarius is killed by a Samnite. It was usual for the defeated gladiator to implore the clemency of the spectators, by sinking on one or both knees, = and uplifting his left hand open, or with the first finger pointed, as represented in our second cut, from a bas-relief on a Samian bowl discovered in London. If the spectators felt that he had acted with bravery, his life was spare= d; if they did not respond to his appeal, he was killed by his antagonist. T= hese brutalising scenes were so highly relished by= the Roman people, that immense sums were lavished on the arena. The numbers of gladiators were enormous, and their exhibitions lasted many days. They we= re divided into classes, according to their arms, modes of fighting, and oth= er circumstances. The varied and energetic action of these combatants caused them to be favourite subjects with the Roman artists. Several fine statues and bas-reliefs have been preserved to our times; among the most celebrated is the so-called "Dying Gladiator," in the museum of the Capitol, and the "Gladiator&qu= ot; of the Borghese collection. The combats of the GLADIATORS, although their costume could but little correspond to the Greek sense of Art, gave occupation at least to subordinate artists, who painted walls and adorned sepulchral monuments. We may assume that such gladiatorial combats, hewn = out on tombs or embossed on grave-lamps, sometimes supplied the place of actu= al combats, and, instead of the full honour for = the dead, were meant to furnish the deceased with a semblance thereof.**

* See cut to the word BUCCULA.<= /span>

**= Vide Müller's Ancient Art and its Remains. (1855f1) 2 FIGURES

&nbs= p; &= nbsp; &nbs= p; Buccula cut:

$H Gladiolus. Diminutive of G= LADIUS, and synonym of LIGULA. (See both words.) (1883m1)

$H Gladius.

Gladius. The weapon = of the ancients, which corresponded to our sword, and assumed various forms and shapes. It had no guard, and the hand was only protected by a cross bar. = The sword of the Greeks was leaf‑shaped, that of the Romans straight and only tapering at the point. A specimen of each is here represented. ILLUS. gladius(1891a1)

GLADIUS. T= he sword of the classic nations of antiquity. With the Greeks, it was leaf-shaped, broader in the middle, and tapering to a point (Fig. 1); with the Romans,= straight, with an obtuse pointed end (Fig. 2); both being adopted for thrusting and cutting on both edges. FIGURE(1855f1)

Gladius. R. A general term, including all the differ= ent kinds of swords or glaives, but denoting more particularly the two‑= edged swords used by the Greeks, Romans, and Gauls. Fig. 357 represents two Gau= lish swords, the form of which may easily be guessed, even though they are in = the scabbard; Fig. 356 is a Roman gla= dius.

Fig. 356. Roman sword. Fig. 357. Gallic swords.(1883m1)

&nbs= p;

$H Gladr.

Gladr. "Spirited." In Scandinavian mythology the name of one of the horses of the gods. (1876c1= )

$H Gladsheim.

In Scandinavian mythology the central part= of the city of Asgard, the capital of the gods. See = Asenheim. (1876c1)

$H Glaive.

A blade on a pole ha= ving its edge on the outside curve, used by foot‑soldiers in the 15th century.(1883m1)

A broad‑bladed= sword fixed on a long staff like a guisarine (q.v.)= or partisan (q.v.). It was used throughout the Middle Ages, and until the en= d of the 15th century was the national weapon of the Welsh.(1891a1)=

GLAIVE. A = cutting instrument, used by infantry, and believed to have originated from the Ce= ltic custom of fixing a sword to the end of a pole, as a defensive weapon agai= nst cavalry. It resembled a broadsword in the form of its blade, which had but one cutting edge. Glaives are still used by the Chinese Tartars. (1855f1)=

$H Glans.

Glans Gr. and R. (li= t. an acorn). A large leaden slug, of long oval form, which was hurled by a sli= ng in place of stones.(1883m1)

$H Glass.

Glass. Egypt<= span lang=3DEN-GB style=3D'font-size:12.0pt;font-family:"Times New Roman";mso-= ansi-language: EN-GB'>. The manufacture of glass was early known to the Egyptians, but t= hey never could make it quite white and absolutely transparent, from their inability to eliminate certain chemical substances. It has always a green= ish tinge. The manufacture was not an exact science, their chemistry was empirical, and the results uncertain. Strabo was told in Alexandria that Egypt possessed an "earth" which was peculiarly suitable for the manufacture of glass. Possibly this "earth " was soda, for in t= he middle ages we find the Venetians importing soda from Alexandria for the purpose of glass manufacture. On early tomb walls are seen men working gl= ass with a blow-pipe. Glass was employed for vessels of many shapes, and also very largely for enamelling. In rare cases inscriptions cut in the wooden sarcophagi were filled in with it. Beakers, figurines, amulets and beads = were made of it.(1902b1)

Glass. A solid and transparent body obtained by the fu= sion of siliceous sand with certain alkaline earths or salts and metallic oxid= es. Small vases and drinking vessels were made out of this material in the earliest times. The manufacture of glass was understood by the Egyptians = nearly two thousand years before Christ. It was practised by the Greeks and Romans, and many specimens of ancient glass have been d= ug up in tombs. To what a point of excellence glass‑making was carried= by the ancients, the Portland vase (q.v.), = now in the British Museum, will testify. In the Mid= dle Ages the art of glass‑making seems to have been neglected, and cups were then made of horn or wood instead of glass. About the 15th century, however, the art was revived by the Venetians, who were long without riva= ls in the making of glass. Cups, bowls, and bottles of Venetian manufacture = are to‑day of the greatest value. The finest modern glass comes from Venice or Germany.(1891a1)

Glass. The discovery is lost in remote antiquity. Pliny gives a legend which ascribes it to chance. Glass bottles in Egypt= are represented upon monuments of the 4th dynasty (at least 2000 years B.C.).= A vase of greenish glass found at Nineveh dates from B.C. 700. Glass is found in the windows at Pompeii; and the Romans stained it, b= lew it, worked it on lathes, and engraved it. Pliny mentions, as made by the Romans in his time, glass coloured opaque, re= d, white, black (like obsidian),= or imitating jacinths, sapphires, and other gems= ; also murrhine= glass.

This last was either an imitation of fluor spar, o= r a kind of agate, or fluor spar. The Romans also= made mosaic or millefiori, in which the threads of colour are melted into a rod, so t= hat at every section the whole pattern appears; and cameo glasses, in which a paste of one c= olour is laid over another, and the whole then carved into the required design;= gold leaf was also worked into t= he substance or fixed on the surface. A gate at Const= antinople took its name from the glass works near it, but little is known of the Byzantine art, nor of earlier European art than the 13th century. In mediaeval times stained glass windows, in leaden frames, were constructed with great success in England, France, and Flanders. In the 13th century they appear in Italy= . The Venetian art took its impulse from the capture of = Constantinople in 1204. Its peculiar beauty is derived from the curved forms and tenuity of substance obtained in blowing. (Fig. 358= .) There are six kinds of Venetian glass. (1) Vessels of colourless or transparent glass, or of s= ingle colours, generally blue or purple. (2) Gilt or enamelled glass. (3) Crackled = glass, having a surface rough and divided irregularly into ridges. (4) Variegate= d or marbled opaque glass, called = schmeltz; the most common variety is a mixture of green and purple, sometimes resembling jasper, sometimes chalcedony; other varieties are imitations of lapis laz= uli and tortoise‑shell; and avanturine, which is obtained by mingling metallic fil= ings or fragments of gold leaf with melted glass. (5) Millefiori, or mosaic glass, in imitation of th= e old Roman process. (6) Reticulated, filigree, or lace glass. The varieties contain fine threads of glass, generally coloured, but sometimes milk‑= white, included in their substance. The lightness and strength of the Venetian g= lass are due to its not containing lead like our modern flint glass. Venetian = mirrors were for a long period w= idely celebrated. The oldest example of the German drinking‑cups, ornamented with paintings in enamel, is = of the date of 1553. The designs are commonly armorial bearings. From the beginning of the 17th century the Bohemian manufactories supplied vases enriched with ornamental subjects, particularly with portraits engraved upon the glass. The art of= wheel engraving upon glass flour= ished in France under Louis XVI. In modern times this kind of ornamentation is produced by the agency of hydrofluoric acid. "Coarse glass‑making in England was, in Sussex, of great antiquity.= " (Fuller.) "The first mak= ing of Venice glasses in England began in London<= /st1:City>, about the beginning of the reign of Queen Elizabeth, by one Jacob Vessaline, an Italian." (Stow.)

Fig. 358. Venetian Glass Vase, 16th century.(1883m1)

GLASS. The manufacture of decorative objec= ts in glass seems to have originated with the earliest = civilisation in the East. It was the custom with the older authors to date its inventi= on no farther back than the Roman period; and even that was asserted timidly, and met with much doubt and cavil from the learned. But modern investigat= ions have proved that it was practised with great = success in ancient Egypt, under the reign of its native Pharaohs, and in the time of Moses. Wilkins= on** dates its use "at least= as early as the reign of the first Osirtasen,&qu= ot; upwards of 3500 years ago. The process of glass-blowing is represented in= the paintings at Beni-Hassen, executed during the= reign of that monarch and his immediate successors. He engraves a bead of this material, which contains the name in hieroglyphic characters of a monarch= who reigned 1500 B.C. He says: - "Such was th= e skill of the Egyptians in the manufacture of glass, and in the mode of staining= it of various hues, that they counterfeited with success the amethyst and ot= her precious stones, and even arrived at an excellence in the art which their successors have been unable to retain, and which our European workmen, in spite of their improvement in other branches of manufacture, are still un= able to imitate; for not only do the colours of so= me Egyptian opaque glass offer the most varied devices on the exterior, distributed with the regularity of a studied design, but the same hue and= the same device pass in right lines directly through the substance; so that in whatever part it is broken, or wherever a section may chance to be made of it, the same appearance, the same colours, an= d the same device present themselves, without being found ever to deviate from = the direction of a straight line, from the external surface to the interior." In the = British Museum are some extraordinary fragments of this kind of Egyptian glass, which consist of minute cylinders or laminae of different colours, arranged according to pattern, and afterwa= rds united by heat, rendered effective on their surfaces by means of a flux applied to them. The green emerald, the purple amethyst, and other expens= ive gems, were successfully imitated, and a necklace of false stones could be purch= ased of a Theban jeweller with as much facility as= at a London shop of t= he present day.

**= Manners and Customs of the Ancient Egyptians, vol. iii. p. 89= .(1855f1)

The Greeks used = small vases for unguents, consisting of coloured glass, manufactured in a similar manner, so that the variegated striae passed completely through the substance. A bright yellow and deep blue alternate in wavy lines over the surface of these vessels, which were ado= pted, and perhaps manufactured, in Egypt for their use, after the subjugation of the country to their power. Alexandria was particularly celebrated in the time of the Romans for the skill of its artisans in glass. The Murrhine vases, for wh= ich enormous prices were paid by the Romans, were generally supposed to have = been of this tinted glass. The beauty of the glass manufacture had, in the tim= e of Pliny, almost superseded the use of the precious metals for drinking-cups; they were of the richest colours, and imitated precious stones, or were cut by the lathe, in the style of cameos. One of= the most remarkable of these ancient works is now in our British Museum, and known as the "Portland Vase," from its purchaser, the Earl = of Portland. The body of the vase is formed of dark blue glass, which has be= en entirely coated with opaque white glass. This has been gradually worked a= way with astonishing skill and labour, until the = figures appear as if sculptured on its surface in the style of a cameo. A Greek g= lass vase of similar execution was found in the "house of the Faun,"= at Pompeii, in 1833= . It is covered with foliage and birds, but is an imperfect fragment. Others have been also discovered; and it is not a little curious that a patent was ta= ken out, but a few years since, for the application of m= oulded "pillars" in glass to the surface of glass vessels, which "= ;pillar-moulding" had been practi= sed in Roman times, and of which specimens occur in many museums. *

*<= /span> See Apsley Pellatt's Curiosities of Glass-making for = much information on the Art, and many beautifully-engraved examples. (1855f1)<= /span>

The glass bowls = of the Romans were much prized by their barbaric neighbours= , and are not unfrequently found buried with the Celtic races in their grave-mounds. The early Saxons practised glass-making, but with them it was a peculiar and degenerate art; their works, though occasionally displaying grace of form, being more frequently marred by ugliness, the glass itself being always of the commonest kind, = and disfigured by air-bubbles; the manufacture was on a par with that of the commonest wine-bottles of the present day. In the middle ages, glass vess= els appear to have been rarely used - horn, wood, and metal were used for dri= nking - and it was not until the Venetians resuscitated the Art, in the fifteen= th century, that "glasses" were "your only drinking vessels." It is to the participation of Venice in the taking of Constantinople by the Italians, A.D. 1204, that she owes, in all probability, the introduction of her manufacture of ornamental glass, whi= ch may have received a fresh impetus from the immigration of Greek artists i= nto Italy, in 1453, on the downfall of the Eastern empire. They now began to revive the ancient processes, and invent new ones; they became celebrated= for the manufacture of glass bowls, salvers, and bottles, painted with arms a= nd devices in enamel; for mosaics, formed of delicate threads, in the old Egyptian fashion, which, being cut transversely, or at right angles, form= ed coloured arabesques and flowers. SCHMELZE-GLASS, VI= TRO-DE-TRINO,* and FROSTED GLASS, were inven= ted, as well as EMBOSSED CRYSTAL, the subjects upon which were blown hollow fr= om within. Sometimes they inserted minute particles of gold, arranged in ornamental patterns. The beauty and variety of form given to their work, = the extreme delicacy of its manipulation and clearness of colour, gave it an European reputation, and re-establi= shed the manufacture, of which they long preserved a monopoly.

*<= /span> See these words= in this dictionary.

To descant= on the modern glass-making would be a work of supererogation. It may suffice to = say that it successfully displays the beauty and ingenuity of the antique; and that the glass-workers of B= ohemia are, among the moderns, super-eminent for the brilliancy of the colour wh= ich they obtain. Its principal effects are produced by layers of tints cut through to the white substratum, in ornamental patterns. (1855f1)<= span style=3D'mso-no-proof:no'>

--- $H Gl= ass Case.

A small glass cupboa= rd in which works of art are placed, either in private collections or in exhibitions and museums. Glass cases are sometimes vertical and rise to a considerable height, shelves being placed one above the other so as to re= nder it possible to exhibit a large number of objects in one case. Sometimes t= hey are horizontal, in the form of a table covered with glass, and about brea= st high. ILLUS. glasscas(1891a1)

--- $H Gl= ass, Cut.

A term applied to ob= jects made of glass, the facets of which are cut on a grindstone.(1891a1)<= /o:p>

--- $H Gl= ass, Filigree. =

Glass vessels decora= ted with fillets variously coloured and interlaced.(18= 91a1)

--- $H Gl= ass‑glazed Wares. (See GLAZED WARES.) (1883m1)

--- $H Gl= ass‑Mosaic.

GLASS-MOSA= IC. A modern Italian work in imitation of the antique, but much more minute in character, being formed of small squares of coloured glass, frequently re= presenting a painting so perfectly as to deceive the eye, and used for brooches, lid= s of snuff-boxes, aud other articles d= e luxe. (1855f1)

--- $H Gl= ass Painting or Glass-Painting.

Glass Painting. Ther= e are two principal systems of glass‑painting. The more ancient is termed= mosaic glass‑painting, in = which every colour was on a separate piece of glass= , and the pictorial effect was produced by combining variously coloured pieces. This method disappeared from use about the 16th century. The later system, which took the place of mosaic glass‑painting in the 16th century, may be termed the enamel method. Colours are laid on to the glass with a brush and fixed by the processes ordinari= ly employed in enamel‑painting. This system of glass‑painting has survived until modern times.(1891a1)

GLASS-PAINTING. The art of glass-painting, or glass-staining as it is sometimes term= ed, is practised under three systems, which may be d= istinguished as the mosaic method, the enamel method, and a method comp= ounded of these two, or the mosaic-ename= l method. There is yet another mode of omamenting glass, which consists in applying pigments mixed with copal varnish. But this is= of a perishable nature, and mould not be regarded as true glass-painting, wh= ich is only perfected by the aid of fire, and is as durable as the glass itse= lf. Most true glass-paintings are formed by combining the two processes of enamelling and staining, since, although it would n= ot be possible to execute a glass-painting by staining the glass merely, yet it= can be entirely formed of painted glass. By the mosaic method, each colour of the= design must be represented by a separate piece of glass, except yellow, brown, a= nd black; these colours are applied upon white glass, and for shadows. In= the enamel method, coloured glass is not used, the picture being painted upon white glass with enamel= colours. The mosaic-enamel method consists of a combination of the two other processes; white and coloured glass, as well as every variety of enamel = colour, being employed i= n it. For fuller details of these various processess, we must refer the reader to the works of Gessert= , The art of Painting in Glass, or Glass-staining, translated from the German; and = Veiel, L'Art de la Peinture= sur Verre, et de la Vitrerie par Feu. <= o:p>

The mosaic glass-painting is the most ancient form, and was continued in use until t= he middle of the sixteenth century. The glass used was the ordinary pot-metal glass. The colours adopted were ruby-red (the intensity and beauty of which has not yet been successfully imitated), bl= ue, green, red, yellow, and lilac. As the art advanced, "green and lilac became almost extinct, except in the drapery of figures; the proportion o= f yellow increased, and ruby and blue were used in about equal quantities. Up to t= he period of the revival of classical architecture, each colour was invariably on a separate piece of glass, and the tints were generally bright and clear, but when this mode of execution was altered, and severa= l colours were burnt upon the same piece, they became= thick and dull, and the reds are often very strongly tinged with yellow; in this style of glazing the common colours are red, = blue and yellow."**

** Glossary of Architecture. Oxford<= /st1:City>: J. H. Parker.

"The reviva= l of Art in the sixteenth century, and the extraordinary effects then achieved= in oil-painting, by which the hard and dry illumination of the middle ages w= as transformed into a beautiful picture, glowing with the varied tints of nature, and expressing to the eye, by a nice gradation of colouring, the relative position of near and distant objects, seem to have excited t= he ambition of the glass painters, who strove to render their own Art more completely an imitation of nature, and to produce in a transparent material the atmospheric and picturesque effects = so successfully exhibited by the reflective surfaces of oil and fresco paintings. The facility of applying colour to= glass with the brush, at the pleasure of the artist, afforded by the discovery = of the various enamel colours, about the middle = of the sixteenth century, soon led to their extensive employment. It was not, however, until the eighteenth century that they entirely superseded the u= se of coloured glasses in large works.

"The introd= uction of enamels, though it certainly occasioned a great extension in the scale= of colour in glass-painting, was not without its disadvantages. The paintings lost in transparency what they gained in variety of tints, and in proportion as their pictures= que qualities were increased by the substitution of enamel colouring for coloured glass, their depth of colour sensibly diminished.

"The practi= cal application of enamel colours to glass seems = always to have been conducted nearly as at present. Some of the earlier examples= of enamel painting are, however, superior in transparency to the modern. Thi= s is particularly the case with Swiss glass-paintings of the seventeenth and c= lose of the sixteenth century, in which enamel colours are constantly to be met with, firmly adhering to the glass in lumps of one-sixteenth of an inch in thickness, and so well fluxed in burning as t= o be nearly, if not quite, as transparent as pot-metal glass." *

*<= /span> An Inquiry into the History of Ancient Painted Glass, especia= lly in England, with practical hints on Glass-painting by an Amateur (Mr. Winston). 2 vol= s. 8vo. Oxford, 1847.

In the older glass-paintings, the lead, used to hold together the different pieces, was ingeniously constructed so that it should form a strong black boundary to each subject represented, and thus become an essential part of the composition where strong colour could only be= used, and shadows rarely, if at all, appeared. The author just quoted observes, that "the existence of the y= ellow stain in a glass-painting is a proof that it is not earlier than the fourteenth century. In like manner, a glass-painting which exhibits stippled shading or ruby glass, = having some of its coloured surface purposely abrade= d, may be pronounced not to be earlier than the fifteenth century. Again, the us= e of enamel colours marks a glass-painting as havi= ng been executed after the middle of the sixteenth century, while the trifli= ng circumstance that the glass has been originally cut with a diamond, will denote the work is not earlier than the seventeenth century." <= /o:p>

The ordinary ena= mel glass-paintings of the fifteenth century, devoted to historic subjects, rarely display mo= re than different tints of brown, heightened by bright yellow stains, they b= eing regularly painted pictures on a plain untinted surface of glass, the outlines of the figures being generally strongly defined by lines which supply the place of the older leads, and thus gave= the painter scope for greater delicacy of execution and the power of rivalling the painter, with the additional advantag= e of greater transparency. Some of the works of the glass painters of the seventeenth century are remarkable for their beauty of design and power o= f colour, particularly those who practised in the Low Countries, and the windows at Gouda in Holland,** and those at Liege† in Belgium are almost world-renowned. In own country we possess some very remarkable specimens, particularly in King's College Chapel, Cambridge; Fairford Church, Gloucestershire; and St. Margaret's Church, Westminster.*= In the seventeenth century the Art declined. One of the most remarkable revi= vals occurred in the eighteenth, when Sir Joshua Reynolds was commissioned to = design and superintend a window for New College Chapel, Oxford. It is an elaborate and ably designed work, but so completely inferior to = ancient glass in richness of colour and brilliancy of effect, that it only affords another proof of the futility of any genius = when once misdirected. It is thin, poor, and flat, and may be successfully rivalled by inferior works which display a knowledge of the true appliances of the art of gla= ss-painting, and its peculiar power in obtaining certain prismatic effects.=

**= See Weale's magnificent work, Certain Works of Early Masters in Christian Decoration, where= we are told that these windows are so beautiful in themselves, and so highly appreciated, that it has become a proverbial expression to characterise any perfect artistic work, "Het is as der glazen" (it is like the glass!)=

&#= 8224; In the church of St. Jaques. They rival the Gouda windows, being most elaborate in design and brilliant in execution. The <= span class=3DSpellE>cev= opies and enrichments in the later style of the Renaissance are particularly good.

* = The latter was originally intended as a present from the magistrates of Dort to King Henry VII., but the king dying befor= e its completion, it came into possession of the Abbot of Waltham. At the dissolution of monasteries it passed into various hands, and ultimately to General Monk, who for a long time concealed it under ground, afterwards placing it in his chapel at New Hall, from whence it was restored to Westminster. (1855f1)

--- $H Gl= ass Window.

Churches of the Goth= ic style have in every period been decorated with windows, consisting of painted glass, held together by strips of lead and kept in their place by bars of iron fixed to the mullions of the windows. The glass windows of the 12th century had a ground of colourless glass for = the picture they represented, and a border of coloured glass. In the 13th century glass windows were of a brightness, which was positively dazzling. In the 14th century the drawing was more correct, and an attempt was made to introduce picturesque effects, light and shade, &c., into stained glass. In the 15th and 16= th centuries, the tendency to regard glass windows as pictures became still = more marked. Much of the coloured glass which deco= rates the churches and palaces of the 17th century is of great splendour. Among the finest specimens of the glass of this period are the windows of= Gouda in Holland = and Liège in Bel= gium, and in King's College Chapel, Cambridge. In the 18th century little fine‑coloured glass was manufactured, and the present century has been able to do little more than make an ingenious pastiche on the productions of all preceding centuries. ILLUS. glasswin(1891a1)

$H Glaucous.

Glaucous ((8"L6`H[=3Dglaukos]). Of a= sea‑green colour, or a greyish blue.(1883m1)

$H Glaze. Pottery

(Pot.) A vitreous coating, with which pieces of pottery are covered, and which renders them impermeable. = In addition to serving this useful end, the glaze gives a brilliance to the pottery, on which it is placed. The glaze may be applied in several ways, either as powder or in a volatile state; in any = case it is vitrified in the baking.(1891a1)

--- $H Glazed Wares.

Almost immediately a= fter the invention of Ceramic manufacture, the application of glaze or coloured enamel must have improved it. W= hat we term gla&cce= dil;ure is a light varnish which enlivens and harmonizes the porous surface of te= rra‑cotta. In its simple state it is a mixture of silex = and lead, and in this state it is transparent, as we find it on antique vases; when vitrifiable, and mixed with tin, as in the case of = majolicas, it is called enamel; and when of vitrifiable and earthen substance, such as can only be melted at the temperature required= for the baking of the paste itself, it is known as GLAZE, or couverte, and can be iden= tified in the Persian faiences and Flemish stone‑ware. (Figs. 359, 360.) (= See Burty, Chefs‑d'oeuvre of the Indust= rial Arts.)

Fig. 359. Flemish stone‑ware = Cruche, 17th century.

Fig. 360. German enamelled s= tone‑ware Cruche, date first half of the 16th century.<= /span>(1883m1)

&nbs= p; &= nbsp;

$H Glazing.

Glazing. In oil pain= ting, the application of thin layer of colour to fi= nally modify the tone. In pottery, a vitreous covering over the surface. (See GLAZED WARES.)(1883m1)

Glazing. (1.) (Arch.= ) The covering of any surface, vertical or horizontal, oblique or curved, with = panes of glass. The pieces of glass used for glazing in old houses were dark gr= een in colour, and presented a wrinkled projectin= g disk in their centre. The panes of glass used to‑day are colourless. ILLUS. glazing1

(2.) In oil‑pa= inting glazing consists in the applicat= ion of a thin layer of colour over a solid pigment. = The thin layer of colour is always darker than the pigment over which it is laid. The tints used in glazing are generally transparent, but opaque pigments mixed with a large proportion of colourless oil are sometimes employed. By this mean= s an effect of transparency is produced, the tonality of a picture is softened, and the modelling is rendered more harmonious.(1891a1)

GLAZING is that part of the practice of oi= l-painting which consists in the application of an extremely thin layer of colour over another, for the purpose of modifying i= ts tone. It has been practised from the earliest= times of painting, and it is said of Apelles, that he used to glaze or tone his pictures with a transparent varnish of a dark tint. The pigments employed= are generally transparent, although, in some instances, such as in the repres= entation of clouds, dust, smoke, &c., opaque pigments are admissible when mixe= d in minute quantities with a large proportion of oil. By GLAZING, the painter= can produce certain effects, such as transparency and mellowness, impossible = with the aid of solid pigments alone, the intention being to give a natural and agreeable harmony and mellowness to the execution of a picture, such as w= ould be produced by a coloured varnish. The colour employed in GLAZING should be of a darker ti= nt than the solid pigment over which it is laid. GLAZING formed a very impor= tant part in the practice of the Venetian school, and in those derived from it. Those who paint alla prima can produce the desired e= ffect without glazing. **

** See Mrs. Merrifield's Ancient Practice of Oil Painting, &c.

In ceramic manufactures, the glaze is the transparent coating which covers the surfa= ce of pottery, and is composed chiefly of lead and silex. (1855f1)

$H Glenr. Scandinavia<= /st1:place>

In Scandinavian mythology the husband of S= ol, the sun. (1876c1)

$H Globe.

Globe. Globe, held i= n the hand, is the emblem of power.(1883m1)

Globe. A sphere, a s= pherical body. In heraldry the term is applied to a figure which represents the wo= rld in the form of a ball. A golden globe surmounted by a cross is regarded as part of the insignia of royalty. ILLUS. globe(1891a1)

GLOBE. Whe= n held in the hand of figures of the Deity, it denotes power over the world terrestrial and celestial. In the hand of a sovereign, it denotes worldly power. It is the attribute also of St. Dominic, who is sometimes represen= ted with a dog by his side setting fire to it. †

† See an account of that saint, p. 154.(1855f1)

$H Globus.

R. A military manoeuvre employed by a body of Roman soldiers when surrounded by superior forces; it consisted in forming a circle facing in every direction.(1883m1)

$H Glory, Nimbus, or Aureole.

GLORY. The radiation round the head or figure of a deity, saint, or angel; as well as the sacred emblems. (See NIMBUS, AUREOLE, &c.) The Eastern nations us= e it also to glorify representations of warriors, heroes, and great kings. (18= 55f1)

Glory. An allegorical figure, a woman draped and winged, holding in her hand a trumpet, a branc= h of laurel, or the tablets of immortality. The rays of light placed round the heads of saints. [Aureole.] The term is also applied to rays of gilded wo= od surrounding a triangle delta, in which the word God is inscribed in Hebrew characters, and which decorates the altar in some churches belonging to t= he 17th and 18th centuries.(1891a1)

Glory, Nimbus or Aureole, the Christian attribute of sanctity, is of pagan origin, common to images of the gods, and Roman, ev= en Christian, emperors. Satan in miniatures of the 9th to 13th century wears= a glory. The earliest known Christian example is a gem of St. Martin of the early part of the 6th century. The glory round= the head is properly the nimbus or aureole. The oblong glory surrounding the whole person, called in Latin "vesica piscis" (Fig. 361), and in Italian the "mandola" (almond) from its form, is confined to figures of Christ and the Virgin, or saints who are in the act of ascendi= ng into heaven. When used to distinguish one of the three divine Persons of the Trinity, the glory is often cruciform or triangular: the square nimbus designates a person living at the time the work was executed. In other instances it is circular. Coloured glories are variously symbolical. (Mrs. Jameson, "The Poetry of Sacred and Legendary A= rt.")

Fig. 361. Glory. Vesica Piscis in Ely Cathedral.(1883m1)

$H Gloves.

In the 14th century = already gloves were worn, jewelled on the back, as a badge of rank. "They were worn in the hat," s= ays Steevens, "as the favour<= /span> of a mistress, or the memorial of a friend, and as a mark to be challenge= d by an enemy." A glove of the 17th century is described "of a light buff leather, beautifully ornamented with sp= angles and needlework in gold and silver threads, with a gold lace border, and s= ilk opening at the wrist." Gloves were called "cheirothecae," hand‑coverers, by the Greeks and Romans; they were made without separate fingers, the thumb only being free. A legend current at Grenoble affirms= that St. Anne, the mother of the Virgin Mary, was a knitter of gloves.(1883m1)=

GLOVES. Th= ese hand-coverings were known to the ancients, and called χει&= #961;οθήκη by the Greeks, literally hand-cov= erers. The Romans termed them chirotheca= and manica; they were made wi= thout, separate fingers, the thumb only being free. In Eu= rope they were similarly constructed and sparingly used. In the fourteenth cen= tury we find them divided into fingers when worn by the rich, and reaching invariably beyond the wrist, where they were made wide. They were indicat= ive of rank, and made part of the ceremonial costume of an ecclesiastic in fu= ll pontificals, when they were decorated with jewels on the back. Similar co= stly gloves belonged to the state of royalty in the coronation ceremonial. In = the time of Elizabeth= they were made of silk and perfumed, and frequently given as presents on great occasions. It was customary for lovers to wear them in the hat, as favours from a mistress. They were often elaborately ornamented with needlework, and spangled, and edged with lace and coloured ribbon. Knitted and machine-made gloves belong to a more recent period. (1855f1)

$H Glue, Colle Forte.

GLUE, COLL= E FORTE (Fr.) This substance is prepa= red from the skin and tendinous parts of animals, preserved in a dry state in cakes. Dissolved in a proper proportion of water, it yields a jelly-like mass, called size, which is employed as a vehicle in distemper-painting. (1855f1)

$H Gluten.

Gluten. In wax paint= ing, the compound with which the pigments are mixed.(1883m1)

GLUTEN. In Wax-Painting, the name given = to the compound of wax, elemi resin, or copal, with the essential oil of spike or lavender, with which the pigments are mixed. (1855f1)

$H Glyph. Architecture

GLYPH. (Gr.) The flutings or perpendicular channels cut as an ornament upon portions of the Doric frieze.*

* = See DIGLYPH and TRIGLYPH. (1855f1)

= Glyphs, Arch. The flutings of an ornament or grooving forming the segment of a circle. (See DIGLYPH, TRIGLYPH.)(1883m1)

Glyph. (Arch.) Chann= els or flutings which break level surfaces. Such are the channels which ornament the frieze in Doric temple= s. When there are three glyphs or two glyphs and two half‑glyphs this ornament is termed a triglyph (q.v.), when th= ere are two glyphs a diglyph (q.v.). ILLUS. glyph(1891a1)

$H Glyphography.=

GLYPHOGRAP= HY. A kind of engraved drawing, produced by etching in a soft ground upon metal, and taking a cast therefrom by the aid of the electrotype, which produces= a raised line like a woodcut; or else by corroding the surface of the plate where the ground rests, and so obtaining a relief to the lines which were incised therein. (1855f1)

$H Glyptics. [See Gem Engraving - Editor]

Glyptics. The art of engraving on precious stones.(1883m1)

$H Glyptotheca.<= span style=3D'mso-spacerun:yes'>

Gr. and R. (1) A gal= lery for sculpture. (2) A collection of engraved stones.(1883m1)=

The gallery in which= a collection of works of sculpture is placed; also the collection itself. T= he most celebrated collection which in modern times goes by this name is the= Glyptothek at Munich.(1891a1)

GLYPTOTHEC= A. (Gr.) A gallery for sculpture. The ancients were fond of such buildings; and Cicero has left a minute description = of that formed by Verres (see GALLERY), which seems to have combined the attributes of the Pinacotheca also. (1855f1)

$H Gna.

In Scandinavian mythology the messenger of= the goddess Frigge. (1876c1)

$H Gnirzo.

A town in Philistia= , conquered by Sargon II. See <= span class=3DSpellE>Gimtu. (1876c1)

$H Gno.

An Egyptian priest or assistant of the temple of Amen Ra. Period uncertain.

$H Gnomes.

In Scandinavian mythology a mystic nation = of dwarfs who guarded the metallic treasures of the earth. See Elbs. (1876c1)

$H Gnomon.

Gr. and R. The iron = pin or index, which, by the projection of its shadow, marks the hour upon a sun&= #8209;dial.(1883m1)