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Rh and the glass is bedded on asbestos packing to get a better bearing edge, so as to be held more securely. Hope’s glazing is very similar, but the bars are either T or cross according to the span. The “Perfection” glazing used by Messrs Helliwell & Co. (fig. 6) is composed of steel shaped T bars with copper capping, secured with bolts and nuts and having asbestos packing on top of the glass under the edges of the

capping. Pennycook’s glazing is composed of steel shaped T bars encased with lead and lead wings. Rendle’s “Invincible” glazing (fig. 7) is composed of steel T bars with specially shaped copper water and condensation channels, all formed in the one piece and resting on top of the T steel; the glass rests on the zinc channel, and a copper capping is fixed over the edges of the glass and secured with bolts and nuts. Deard’s glazing is very similar, and is composed of T steel encased with lead; it claims to save all drilling for fixing to iron roofs. There are also other systems composed of wood bars with condensation gutter and capping of copper secured with bolts and nuts, and asbestos packing with slight differences in some minor matters, but these systems are but little used.

Cloisonné glass is a patent ornamental glass formed by placing two pieces flat against each other enclosing a species of glass mosaic. Designs are worked and shaped in gilt wire and placed on one sheet of glass; the space between the wire is then filled in with coloured beads, and another sheet of glass is placed on top of it to keep them in position, and the edges of the glass are bound with linen, &c., to keep them firmly together.

Glass is now used for decorative purposes, such as wall tiling and ceilings; it is coloured and decorated in almost any shade and presents a very effective appearance. An invention has been patented for building houses entirely of glass; the walls are constructed of blocks or bricks

of opaque glass, the several walls being varied in thickness according to the constructional requirements.

It is certainly true that daylight has much to do with the sanitary condition of all buildings, and this being so the proper distribution of daylight to a building is of the greatest possible importance, and must be effected by an ample provision of windows judiciously arranged. The heads of all windows should be kept as near the ceiling as possible, as well to obtain easy ventilation as to ensure good lighting. As far as is practicable a building should be planned so that each room receives the sun’s rays for some part of the day. This is rarely an easy matter, especially in towns where the aspect of the building is out of the architect’s hands. The best sites for light are found in streets running north and south and east and west, and lighting areas or courts in buildings should always if possible be arranged on these lines. The task of adequately lighting lofty city buildings has been greatly minimized by the introduction of many forms of reflecting and intensifying contrivances, which are used to deflect light into those apartments into which daylight does not directly penetrate, and which would otherwise require the use of artificial light to render them of any use; the most useful of these inventions are the various forms of prism glass already referred to and illustrated in this article.

See L. F. Day, Stained and Painted Class; and W. Eckstein, Interior Lighting.

GLAZUNOV, ALEXANDER CONSTANTINOVICH (1865–&emsp;&emsp;), Russian musical composer, was born in St Petersburg on the 10th of August 1865, his father being a publisher and bookseller. He showed an early talent for music, and studied for a year or so with Rimsky-Korsakov. At the age of sixteen he composed a symphony (afterwards elaborated and published as op. 5), but his opus 1 was a quartet in D, followed by a pianoforte suite on S-a-c-h-a, the diminutive of his name Alexander. In 1884 he was taken up by Liszt, and soon became known as a composer. His first symphony was played that year at Weimar, and he appeared as a conductor at the Paris exhibition in 1889. In 1897 his fourth and fifth symphonies were performed in London under his own conducting. In 1900 he became professor at the St Petersburg conservatoire. His separate works, including orchestral symphonies, dance music and songs, make a long list. Glazunov is a leading representative of the modern Russian school, and a master of orchestration; his tendency as compared with contemporary Russian composers is towards classical form, and he was much influenced by Brahms, though in “programme music” he is represented by such works as his symphonic poems The Forest, Stenka Razin, The Kremlin and his suite Aus dem Mittelalter. His ballet music, as in Raymonda, achieved much popularity.

GLEBE (Lat. glaeba, gleba, clod or lump of earth, hence soil, land), in ecclesiastical law the land devoted to the maintenance of the incumbent of a church. Burn (Ecclesiastical Law, s.v. “Glebe Lands”) says: “Every church of common right is entitled to house and glebe, and the assigning of them at the first was of such absolute necessity that without them no church could be regularly consecrated. The house and glebe are both comprehended under the word manse, of which the rule of the canon law is,  sancitum est ut unicuique ecclesiae unus mansus integer absque ullo servitio tribuatur .” In the technical language of English law the fee-simple of the glebe is said to be in abeyance, that is, it exists “only in the remembrance, expectation and intendment of the law.” But the freehold is in the parson, although at common law he could alienate the same only with proper consent,—that is, in his case, with the consent of the bishop. The disabling statutes of Elizabeth (Alienation by Bishops, 1559, and Dilapidations, &c., 1571) made void all alienations by ecclesiastical persons, except leases for the term of twenty-one years or three lives. By an act of 1842 (5 & 6 Vict. c. 27, Ecclesiastical Leases) glebe land and buildings may be let on lease for farming purposes for fourteen years or on an improving lease for twenty years. But the parsonage house and ten acres of glebe situate most conveniently for occupation must not be leased. By the Ecclesiastical Leasing Acts of 1842 (5 & 6 Vict. c. 108) and 1858 glebe lands may be let on building leases for not more than ninety-nine years and on mining leases for not more than sixty years. The Tithe Act 1842, the Glebe Lands Act 1888 and various other acts make provision for the sale, purchase, exchange and gift of glebe lands. In Scots ecclesiastical law, the manse now signifies the minister’s dwelling-house, the glebe being the land to which he is entitled in addition to his stipend. All parish ministers appear to be entitled to a glebe, except the ministers in royal burghs proper, who cannot claim a glebe unless there be a landowner’s district annexed; and even in that case, when there are two ministers, it is only the first who has a claim.

See Phillimore, Ecclesiastical Law (2nd ed.); Cripps, Law of Church and Clergy; Leach, Tithe Acts (6th ed.); Dart, Vendors and Purchasers (7th ed.).

GLEE, a musical term for a part-song of a particular kind. The word, as well as the thing, is essentially confined to England. The technical meaning has been explained in different ways; but there is little doubt of its derivation through the ordinary sense of the word (i.e. merriment, entertainment) from the A.S. gleov, gleo, corresponding to Lat.  gaudium ,  delectamentum , hence  ludus musicus ; on the other hand, a musical “glee” is by no means necessarily a merry composition. Gleeman (A.S. “gleoman”) is translated simply as “musicus” or “cantor,” to which the less distinguished titles of “mimus, jocista, scurra,” are frequently added in old dictionaries. The accomplishments and social position of the gleeman seem to have been as varied as those of the Provençal “joglar.” There are early examples of the word “glee” being used as synonymous with harmony or concerted music. The former explanation, for instance, is given in the  Promptorium parvulorum , a work of the 15th century. Glee in its present meaning signifies, broadly speaking, a piece of concerted vocal music, generally unaccompanied, and for male voices, though exceptions are found to the last two restrictions. The number of voices ought not to be less than three. As regards musical form, the glee is little distinguished from the catch,—the two terms being often used indiscriminately for the