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 is, now as ever, that it should have nothing to lose and everything to gain by execution in stained glass.

.—Theophilus, Arts of the Middle Ages (London, 1847); Charles Winston, An Inquiry into the Difference of Style observable in Ancient Glass Painting, especially in England (Oxford, 1847), and Memoirs illustrative of the Art of Glass Painting (London, 1865); N. H. J. Westlake, A History of Design in Painted Glass (4 vols., London, 1881–1894); L. F. Day, Windows, A Book about Stained and Painted Glass (London, 1909), and Stained Glass (London, 1903); A. W. Franks, A Book of Ornamental Glazing Quarries (London, 1849); A Booke of Sundry Draughtes, principaly serving for Glasiers (London, 1615, reproduced 1900); F. G. Joyce, The Fairford Windows (coloured plates) (London, 1870); Divers Works of Early Masters in Ecclesiastical Decoration, edited by John Weale (2 vols., London, 1846); Ferdinand de Lasteyrie, Histoire de la peinture sur verre d’après ses monuments en France (2 vols., Paris, 1852), and Quelques mots sur la théorie de la peinture sur verre (Paris, 1853); L. Magne, Œuvre des peintres verriers français (2 vols., Paris, 1885); Viollet le Duc, “Vitrail,” vol. ix. of the Dictionnaire raisonné de l’architecture (Paris, 1868); O. Merson, “Les Vitraux,” Bibliothèque de l’enseignement des beaux-arts (Paris, 1895); E. Levy and J. B. Capronnier, Histoire de la peinture sur verre (coloured plates) (Brussels, 1860); Ottin, Le Vitrail, son histoire à travers les âges (Paris); Pierre le Vieil, L’Art de la peinture sur verre et de la vitrerie (Paris, 1774); C. Cahier and A. Martin, Vitraux peints de Bourges du XIII&#8202;e siècle (2 vols., Paris, 1841–1844); S. Clement and A. Guitard, Vitraux du XIII&#8202;e siècle de la cathédrale de Bourges (Bourges, 1900); M. A. Gessert, Geschichte der Glasmalerei in Deutschland und den Niederlanden, Frankreich, England, &c., von ihrem Ursprung bis auf die neueste Zeit (Tübingen and Stuttgart, 1839; also an English translation, London, 1851); F. Geiges, Der alte Fensterschmuck des Freiburger Münsters, 5 parts (Freiburg im Breisgau, 1902, &c.); A. Hafner, Chefs-d’œuvre de la peinture suisse sur verre (Berlin).

GLASSBRENNER, ADOLF (1810–1876), German humorist and satirist, was born at Berlin on the 27th of March 1810. After being for a short time in a merchant’s office, he took to journalism, and in 1831 edited Don Quixote, a periodical which was suppressed in 1833 owing to its revolutionary tendencies. He next, under the pseudonym Adolf Brennglas, published a series of pictures of Berlin life, under the titles Berlin wie es ist und—trinkt (30 parts, with illustrations, 1833–1849), and Buntes Berlin (14 parts, with illustrations, Berlin, 1837–1858), and thus became the founder of a popular satirical literature associated with modern Berlin. In 1840 he married the actress Adele Peroni (1813–1895), and removed in the following year to Neustrelitz, where his wife had obtained an engagement at the Grand ducal theatre. In 1848 Glassbrenner entered the political arena and became the leader of the democratic party in Mecklenburg-Strelitz. Expelled from that country in 1850, he settled in Hamburg, where he remained until 1858; and then he became editor of the Montagszeitung in Berlin, where he died on the 25th of September 1876.

Among Glassbrenner’s other humorous and satirical writings may be mentioned: Leben und Treiben der feinen Welt (1834); Bilder und Träume aus Wien (2 vols., 1836); Gedichte (1851, 5th ed. 1870); the comic epics, Neuer Reineke Fuchs (1846, 4th ed. 1870) and Die verkehrte Welt (1857, 6th ed. 1873); also Berliner Volksleben (3 vols., illustrated; Leipzig, 1847–1851). Glassbrenner has published some charming books for children, notably Lachende Kinder (14th ed., 1884), and Sprechende Tiere (20th ed., Hamburg, 1899).

See R. Schmidt-Cabanis, “Adolf Glassbrenner,” in Unsere Zeit (1881).

GLASS CLOTH, a textile material, the name of which indicates the use for which it was originally intended. The cloths are in general woven with the plain weave, and the fabric may be all white, striped or checked with red, blue or other coloured threads; the checked cloths are the most common. The real article should be all linen, but a large quantity is made with cotton warp and tow weft, and in some cases they are composed entirely of cotton. The short fibres of the cheaper kind are easily detached from the cloth, and hence they are not so satisfactory for the purpose for which they are intended.

GLASSIUS, SALOMO (1593–1656), theologian and biblical critic, was born at Sondershausen, in the principality of Schwarzburg-Sondershausen, on the 20th of May 1593. In 1612 he entered the university of Jena. In 1615, with the idea of studying law, he moved to Wittenberg. In consequence of an illness, however, he returned to Jena after a year. Here, as a student of theology under Johann Gerhard, he directed his attention especially to Hebrew and the cognate dialects; in 1619 he was made an “adjunctus” of the philosophical faculty, and some time afterwards he received an appointment to the chair of Hebrew. From 1625 to 1638 he was superintendent in Sondershausen; but shortly after the death of Gerhard (1637) he was, in accordance with Gerhard’s last wish, appointed to succeed him at Jena. In 1640, however, at the earnest invitation of Duke Ernest the Pious, he removed to Gotha as court preacher and general superintendent in the execution of important reforms which had been initiated in the ecclesiastical and educational establishments of the duchy. The delicate duties attached to this office he discharged with tact and energy; and in the “syncretistic” controversy, by which Protestant Germany was so long vexed, he showed an unusual combination of firmness with liberality, of loyalty to the past with a just regard to the demands of the present and the future. He died on the 27th of July 1656.

His principal work, Philologia sacra (1623), marks the transition from the earlier views on questions of biblical criticism to those of the school of Spener. It was more than once reprinted during his lifetime, and appeared in a new and revised form, edited by J. A. Dathe (1731–1791) and G. L. Bauer at Leipzig. Glassius succeeded Gerhard as editor of the Weimar Bibelwerk, and wrote the commentary on the poetical books of the Old Testament for that publication. A volume of his Opuscula was printed at Leiden in 1700.

See the article in Herzog-Hauck, Realencyklopädie.

GLASSWORT, a name given to Salicornia herbacea (also known as marsh samphire), a salt-marsh herb with succulent, jointed, leafless stems, in reference to its former use in glass-making, when it was burnt for barilla. Salsola Kali, an allied plant with rigid, fleshy, spinous-pointed leaves, which was used for the same purpose, was known as prickly glasswort. Both plants are members of the natural order Chenopodiaceae.

GLASTONBURY, a market town and municipal borough in the Eastern parliamentary division of Somersetshire, England, on the main road from London to Exeter, 37 m. S.W. of Bath by the Somerset & Dorset railway. Pop. (1901) 4016. The town lies in the midst of orchards and water-meadows, reclaimed from the fens which encircled Glastonbury Tor, a conical height once an island, but now, with the surrounding flats, a peninsula washed on three sides by the river Brue.

The town is famous for its abbey, the ruins of which are fragmentary, and as the work of destruction has in many places descended to the very foundations it is impossible to make out the details of the plan. Of the vast range of buildings for the accommodation of the monks hardly any part remains except the abbot’s kitchen, noteworthy for its octagonal interior (the exterior plan being square, with the four corners filled in with fireplaces and chimneys), the porter’s lodge and the abbey barn. Considerable portions are standing of the so-called chapel of St Joseph at the west end, which has been identified with the Lady chapel, occupying the site of the earliest church. This chapel, which is the finest part of the ruins, is Transitional work of the 12th century. It measures about 66 ft. from east to west and about 36 from north to south. Below the chapel is a crypt of the 15th century inserted beneath a building which had no previous crypt. Between the chapel and the great church is an Early English building which appears to have served as a Galilee porch. The church itself was a cruciform structure with a choir, nave and transepts, and a tower surmounting the centre of intersection. From east to west the length was 410 ft. and the breadth of the nave was about 80 ft. The nave had ten bays and the choir six. Of the nave three bays of the south side are still standing, and the windows have pointed arches externally and semicircular arches internally. Two of the tower piers and a part of one arch give some indication of the grandeur of the building. The foundations of the Edgar chapel, discovered in 1908, make the whole church the longest of cathedral or monastic churches in the country. The old clock, presented to the abbey by Adam de Sodbury (1322–1335), and noteworthy as an early example of a clock striking the hours automatically with a count-wheel, was once in Wells cathedral, but is now preserved in the Victoria and Albert Museum.