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 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 à 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 à 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, 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.

GLOBIGERINA, A. d’Orbigny, a genus of Perforate (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 (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 Walküre 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 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 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