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 1815, when he exhib. ited the Separation of the Apostles, he contributed nothing to the Salon except the Danse of the Bacchantes in 1849. And 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 suddenly dropped down and expired May 5, 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 Távdnuos; Daphnis and Chloe; and Love and the Parcæ. 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 Clément's catalogue of his works there are 683 entries, including sketches and studies. Gleyre is in great favour in Switzerland; and a special exhibition of his works was held at Lausanne in the Arland Museum, August and September 1874.

See Fritz Berthoud in Bibliothèque Universelle de Genève, 1874; Albert de Montet, Dict. Biographique des Genevois et des Vaudois, 1877; and Vie de Charles Gleyre, 1877, written by his friend, Charles Clément, and illustrated by 30 plates from his works.

GLINKA, FEDOR NIKOLAEVICH (1788–1849), a 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 French in 1812, he re-entered the Russian army, and or travelling about Russia. Upon the invasion of the 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 On account of his appointed colonel under his command. banished to Petrozavodsk, but he nevertheless retained his suspected revolutionary tendencies he was, in 1826, 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. military campaigns of his time. He is known also as the author of Glinka's martial songs have special reference to the Russian the descriptive poem Kareliya, &c. (Carelia, or the Captivity of Martha Joanorna), 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., 1815-16.

GLINKA, MICHAEL IVANOVICH (1804-1857), a celebrated Russian composer, was born at Novospassky, a village in the Smolensk government, in 1804, and not, as stated generally in the dictionaries, in 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 celebrated Irish composer and pianist, 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 Dehn, the celebrated contrapuntist, with whom Glinka stayed for several months at Berlin. In 1833 he returned to Russia, and devoted himself to operatic composition. On November 27, 1836, took place the first representation of his Life for the Czar. 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. Subject and music combined to bring about this issue. 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 czar. Glinka has wedded this patriotic theme to inspiring and in some places admirable music. His melodies, moreover, show distinct affinity to the popular songs of the Russians, and for that reason the term "national" may be justly applied to them. His appointment as imperial chapel-master and conductor of the opera of St Petersburg was the just reward of his dramatic successes. His second opera, Russlan and Lyudmila, founded on Poushkin's poem, did not appear till 1842; but in the meantime he wrote an overture and four entre-actes to Kukolnik's drama Prince Kholmsky. In 1844 he went abroad for a second time, and lived chiefly in Paris and Spain. On his return to St Petersburg he wrote and arranged several pieces for the orchestra, amongst which the so-called Kamarinskaya has achieved popularity beyond the

limits of Russia. He also composed numerous songs and romances. In 1857 he went abroad for the third time, and died suddenly at Berlin, on February 14th of that year. GLINKA, SERGY NIKOLAEVICH (1774-1847), Russian author, the elder brother of Fedor N. Glinka (noticed above), 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.

Ainong 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., 1817-19 (2d ed. 1822; 3d 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. With the exception of illuminated portolani, the most interesting monuments of geography are globes. Celestial globes are much more ancient than terrestrial ones. The earliest of these with which we are acquainted is one made of copper engraved in the Arab-Cufic character of the 11th century. It is preserved in the Bibliothèque Nationale

de Paris, Sect. Géog., No. 396 (see fig. 1). In Italy the

FIG. 1.-Globe in Bibliothèque Nationale, Paris. 'emperor Frederick II. (1197-1250) possessed a celestial globe of gold, probably also of Arab manufacture, on which the stars were indicated by pearls; from the scanty information that has come down to us respecting it we should imagine that it partook somewhat of the nature of an armillary sphere, as representations of the planets were to be seen in the interior of it. To these succeed a series of globes ranging from the 15th to the 17th century.

One might suppose that many specimens of these globes would exist in public libraries, but diligent research has shown that the majority of those not made of metal are more perishable than maps, and much more so than books.

The earliest terrestrial globe of any importance known to geographers is the well known one of Martin Behaim of Nuremberg, bearing the date of 1492. It is about 21 inches in diameter, and is made of pasteboard covered with parchment, on which are designed historical pictures with their legends written in Old German in various colours. The first meridian passes through Madeira, and the only other lines on it are those of the equator, the two tropics, and the polar circles. It has also a meridian of iron and an horizon of brass, but these were not added until 1500, which date they bear. As a monument of geography it is of the highest importance, being the only original document that has come down to us in this form embodying the geographical views of its author with those of his gifted contemporaries, Toscanelli, Columbus, &c. This globe represents with some slight modifications most of the disproportions of the Ptolemaic geography, into which is incorporated information evidently derived from the travels of Marco Polo and Sir J. Maundeville. It was executed by Behaim, assisted by Holtzschuer, while on a visit to his native city (1491-3), after a sojourn of five his ancestors at Nuremberg. An exact and authenticated years at the Azores. It is still preserved in the house of facsimile of it, mounted on a stand, is preserved in the Bib. Nat. de Paris, Section Géographique, No. 393,1

The Laon globe of 1493, in the possession of M. Leonce Leroux of the Administration Centrale de la Marine à Paris, is made of red copper engraved, about the size of a 36-pounder cannon ball, and pierced by a socket which at a former period held an axis. It has all the appearance of having formed part of the apparatus of an astronomical clock. On the globe are engraved many circles. The first meridian, as in the globe of Behaim, passes through Madeira. In the northern hemisphere meridian lines are drawn at every 15th degree; these meridians are again crossed by certain parallels of latitude corresponding somewhat to the seven climates usually found on maps of the period. Neither meridians nor parallels are to be traced on the southern hemisphere. Although this globe bears a legend upon it dated 1493, it is evident that tho general geographical information recorded upon it is earlier than that on Behaim's globe by five or six years. In all probability it was that current in Lisbon between the voyage of Diego Cam to the Zaire or Congo river, 1484-5, and that of Bartholomeu Diaz to the Cape of Good Hope in 1487. The author is unknown. A heart-shaped projection of this globe was published in the Bulletin de la Soc. de Géog. de Paris, 4me série, tom. 20te, 1860.

This

In all probability the earliest post-Columbian globe extant is the one now preserved in the Lenox Library, New York. It was found in Paris some twenty-five years ago by Mr Richard M. Hunt, who, upon learning its value, presented it to the Lenox Library, of which he is the architect. globe is of copper, about 4 inches in diameter and engraved. It is pierced for an axis, and probably, like the Laon sphere, formed the principal feature of an astronomical clock or armillary sphere. The date assigned to the Lenox globe by Mr Henry Stevens, who first recognized its importance, and had an accurately drawn projection made of it in the Coast Survey Bureau at Washington in 1869, is about 1506-7. A comparison of that projection, now published in reduced facsimile for the first time (see fig. 2), with several contemporary maps and globes, serves to show the accuracy of the date assigned to it, as also to suggest its French origin. The author is unknown.

1 For other reproductions of it see J. C. Doppelmayr, Historische Nachricht von den Nürnbergischen Mathematicis und Künstlern. Nuremberg, 1730; Dr F. W. Ghillany, Geschichte des Seefahrers Ritter Martin Behtim, Nuremberg, 1853; and Jomard, Monuments de la Géographie, Paris, 1854.

manufacture are known to exist of a date anterior to the 17th century. To Mollineux succeeds William Jansson Blaeu (1571-1638), a celebrated mathematician, mapdrawer, and publisher of Amsterdam, who secured a con siderable reputation by publishing terrestrial and celestial globes, which excelled in beauty and accuracy everything that had preceded them. He was succeeded by his son John, editor of the well-known Atlas Major in 11 vols. folio. The elder Blaeu constructed globes in three sizes, the largest measuring 27 inches, the next about 14 inches, the smallest about 7 inches in diameter. The bodies of the globes were usually made of wood, covered with plastic composition upon which the maps were pasted in gores, thus admitting of corrections being made from time to time. In consequence of this no examples of his globes are known to exist without additions of the 17th century. Mr P. J. K. Baudet, who wrote the Life and Works of W. J. Blaen, Utrecht, 1871, notwithstanding his utmost exertions, could find in Holland only two pairs, one in the astronomical observatory at Leyden, the other in the physical museum at Amsterdam, the latter being of the smallest size. Another pair, however, of the smallest size, dated 1603, are in the possession of Mr Henry Stevens; and a pair of the medium | size, belonging to Mr Fred. Müller of Amsterdam, were exhibited at the geographical congress held in Paris in 1875. Of the last pair, the celestial globe bears the date of 1603. The terrestrial globe, though still bearing the date of the first edition of 1599, has received corrections of a much later date, embodying the geographical results of the first Dutch expedition to the East Indies under Houtman in 1598, and those of Oliver Van Noort in the same year, and of Le Maire in 1616. From a report presented to the French minister of public instruction by M. E. Cortambert in 1855 we learn that a pair of fine globes by Blaeu is preserved in the Bibliothèque de Bourges. Two pairs of the 27-inch globes of Blacu's heirs have recently been found, the first in the library of Trinity House, Tower Hill, the second in the British Museum, of date about 1645. In their main features the globes of Blaeu coincide more or less with several well-known maps published at this period, and with others to be found in the atlases of Mercator and Hondius. The only remaining globes of the 16th century known to us are two pairs by A. F. Van Langren; the first, preserved in the Bib. Nat. de Paris, Sect. Géog., No. 405; the second in the Bibliothèque de Grenoble, found by M. E. Cortambert in 1855. In the latter library is also to be seen a curious terrestrial globe in MS., made by some monks of the Grande Chartreuse; it is undated, but is supposed to be of the 17th century.

It remains to notice briefly the few globes of a later period that are remarkable either for their historical interest, peculiar form, or great size. In the Academy of Sciences at St Petersburg there are or were four that call for notice. The first is a terrestrial one, 3 feet in diameter, mado at Pleskow by a deacon named Karpow Maximow. It is supposed to have been the first made in Russia. This is accompanied by a planetary 2 feet in diameter, presented to Peter the Great by the company of English merchants established in Russia. Here is also preserved a large terrestrial globe of copper, made in 1664 by the heirs of W. J. Blaeu; it is 7 feet in diameter, and was brought from Moscow about 1747. In the same academy is preserved the famous Gottorp globe; it is a hollow sphere 11 feet in diameter, containing a table and seats for twelve persons. It was made by A. Bush in 1654, under the direction of Olearius, from designs found among the papers of Tycho Brahe, and was not finished until 1664. The outside represents the terrestrial globe, the interior showing the heavens; the stars are distinguished according to their respective magnitudes by gilt nails of various sizes.

It was

presented to Peter the Great by Frederick IV. of Denmark in 1713. The Czar was so pleased with his acquisition that he had it transported by water to Revel, and thence on rollers and sledges to his new capital. Being partly burut in 1747, it was repaired again 1751, and adjusted to the horizon of St Petersburg, the meridian and horizon being made by an English mechanic named Scott.

The two largest complete globes existing are those preserved in the "Salle des Globes" in the Bibliothèque Nationale of Paris. They are each 12 feet in diameter, and were made under the direction of the famous Italian geographer Coronelli in 1683, by order of Cardinal d'Estrées, the Spanish ambassador, and presented by him to Louis XIV. They are made of wood, very solid, and are covered with cloth or canvas on which the configurations have been drawn by an able artist, particularly those on the celestial globe. The meridians and horizons are of bronze, the latter are sustained by eight columns of the same material, and the former by two bronze feet highly ornamented. Between the brackets that form the feet of the meridians is placed, under each globe, a compass in marble and bronze; the ascent to these is by five steps which encircle each globe. On the celestial globe painted blue are marked all the fixed stars, and their constellations with the paths of the comets, also the places of all the planets at the moment of the birth of Louis XIV. This last event is alluded to also in a hyperbolical inscription to be seen on a copper plate to be found on it. The geography of the terrestrial globe is based upon that of Sanson; the sea being painted in deep blue, and the land portions being white, the inscriptions upon it are very legible. There is also to be seen on it a bust of the king placed above a dedication somewhat like that on the celestial globe. Although these globes are without any great scientific value, they serve to indicate the astronomical and geographical knowledge prevalent in France at the end of the 17th century. A good illustration of these globes, accompanied by a detailed account of their history, by M. C. Letort of the Bibliothèque Nationale, will be found in La Nature, No. 116, August 21, 1875. In the Bib. Mazarine is preserved a terrestrial globe 8 feet in diameter, known as the Louis XVI. globe. It is made of copper engraved, the names of places being inlaid with black, and is mounted on a temporary wooden structure, the beautiful accessories of bronze cast for it never having been finished or utilized; they are, however, to be seen in another part of the library. We learn from a MS. description of this globe, also preserved here, that it was made for Louis XVI., himself no mean geographer, by the direction of Vergennes in 1784. The geography of it is based upon that of D'Anville, corrected by Robert de Vaugondy and Le Clerc; it also indicates the net results of all the voyages round the world made up to this period.

About 1764 Dr Roger Long of Cambridge, professor of astronomy and master of Pembroke, erected in an outbuilding of his hall a sphere 18 feet in diameter. The concave interior was lined with tin, upon which was depicted all the stars and constellations visible in England on the horizon of Cambridge. The lower part of the sphere was cut off at the diameter of 13 feet, and the truncated meridians were screwed down on to a circle which ran or rollers of lignum vitæ, the whole being movable by simple machinery provided for the purpose. It was capable of holding thirty persons, and had an entrance by six steps placed over the South Pole. In the centre was placed a planetarium. Although it is said funds were left for its preservation, it appears to have fallen into neglect and decay.

To these succeed in order of size the globes known as "Georamas." One exhibited in Paris in 1844 was 30 feet in diameter; another by Delanhard erected in 1823 was 40 feet in diameter; of the last the proprietor published a