Page:Encyclopædia Britannica, Ninth Edition, v. 10.djvu/699

Rh 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 (1 Eliz. c. 19, and 13 Eliz. c. 10) made void all alienations by eccle- siastical persons, except leases for the term of twenty-one years or three lives. As to exchange of glebe lands, see 5 and 6 Vict. c. 54, and 17 and 18 Vict. c. 84. In Scotch 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 globe 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 Bell’s Dictionary and Digest.  GLEE is a musical term for a part song of a par- ticular 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 from the Anglo—Saxon “glcov, gleo,” grnulium, (lelectamentum, and hence ladas musicas. Glee- man, Anglo—Saxon “gleo-man,” is translated simply as “musicus” or “cantor,” to which the less distinguished titles of “mimns, 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 Provencal “joglar.” To return to the word “glee,” there are early examples of its being used as synonymous with harmony or concerted music. The former explana- tion, for instance, is given in the Promptoriam Par- 'z'alorum, 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 same song; but there is a distinct difference between it and the madrigal— one of the earliest forms of concerted music known in England. While the madrigal does not show a distinction of contrasted movements, this feature is absolutely necessary in the glee. In the madrigal the movement of the voices is strictly contrapuntal, while the more modern form allows: of freer treatment anl more compact harmonies. Differences of tonality are fully explained by the development of the art, for while the madrigal reached its acme in Queen Elizabeth’s time, the glee proper was little known before the Commonwealth; and its most famous representatives beloug to the last century and the ﬁrst quarter of the pre- sent. Among the numerous collections of the innumer- able pieces of this kind, only one of the earliest and most famous may be mentioned, Catch that Catch can, a Choice (.'ollecti0n of Catches,‘130unils, and Canons, for three and four mic-es, published by John Hilton in 16-32. The name “ glee,” however, appears for the ﬁrst time in John Playford’s JIusical Companion, published. twenty—one years afterwards, and reprinted again and again, with additions by later composers—Henry Purcell, William Croft, and John Blow among the number. The father of the glee in its modern form is Dr Arne, born in 1710. Among more recent English musicians famous for their glees, catches, and part-songs, the following may be mentioned : »—.~Xtt\vood, Boyce, Bishop, Crotch, Callcott, Shield, Stevens, Horsley, Webb, and Knyvett. The convivial character of the glee led, in the last century, to the formation of various societies, which offered prizes and medals for the best com- positions of the kind, and assembled for social and artistic purposes. The most famous amongst these—The Glce Club—was founded in 1783, and at ﬁrst used to meet at the house of Mr R. Smith, in St Paul's Churchyard. This club was dissolved in 1857. A similar society—~The Catch Club—was formed in 1761, and is still in existence. A short historic survey of the subject is contained in Mr W. A. Barrett’s The English Glee and 411 adrigal Writers.  GLEIG, (1753–1839), bishop of Brechin, Scotland, was the son of a farmer, and was born at Boghall, Kincardineshire, May 12, 1753. He received his early education at the sclmol of Arbuthnott, and at the age of thirteen entered King’s College, Aberdeen, where he especially distinguished himself in mathematics and the moral and physical sciences. In his twenty-ﬁrst year he took orders in the Scottish Episcopal Church, and was ordained to the pastoral charge of a congregation at Pitten- weem, Fife, whence he removed in 1790 to Stirling. His pastoral duties allowing him considerable leisure for literary pursuits, he became a frequent contributor to the Jfonthly Review, the G entle17tan’s 111 agazine, the Anti-Jacobin Review, and the British Critic. He also wrote several articles for the third edition of the Encyclopcedia Britannica, and on the death of the editor, Colin Macfarqnhar, in 1793, was engaged to edit the remaining volumes. One of his principal contributions to this work was the article Metaphysics. He was twice chosen bishop of Dunkeld, but the opposition of the primus rendered the election on both Occasions ineffectual. In 1808 he was consecrated assistant and successor to the bishop of Brechin, in 1810 was pre- ferred to the sole charge, and in 1816 was elected primus of the Episcopal Church of Scotland, in which capacity he greatly aided in the introduction of many useful reforms, in fostering a more catholic and tolerant spirit, and in cement- ing a ﬁrm alliance with the sister church of England. He died at Stirling in February 1839.

1em  GLEIM, (1719–1803), a minor German poet, was born April 2, 1719, near Halberstadt, and died there February 18, 1803, after having occupied, during half a century, the situation of secretary to the chapter of Halberstadt. “ Father Gleinl ” was the title accorded to him throughout all literary Germany on account of his kind-hearted though inconsiderate and un- discriminating patronage alike of the poets and poetasters of the period. He wrote a large number of feeble imita- tions of Anacreon, Horace, and the minnesingers, a dull didactic poem entitled IIalladat oder (lrts rothe Bach (Hal- berstadt, 1774, 4th ed. 1812), and collections of fables and romances (Fabeln, Berlin, 1756-57 ; Ifomanzen, Berlin and Leipsic, 1756 5 Lieder, Fabeln, and Romanzen, Berlin, 1758). Of higher merit are his Preussische Ii'riegs- liedereines G'renadiers (Berlin, 1758). These, which were inspired by the campaigns of Friederick II., is often dis- tinguished by genuine feeling and vigorous force of expres- sion. They are also noteworthy as being the ﬁrst of that long series of noble political songs in which later German literature'is so rich. With this exception, Gleim's writings are for the most part tamer commonplace in thought and expression. His very best odes have only a certain feeble prettiness to recommend them. A few, as Das Ila'ttche-n and An Len/con, have still some popularity, and appcar in most collections of German poetry.

1em  GLEIWITZ, a town in the Prussian province of Silesia, chief town of the circle of Tost-Gleiwitz, government district of Oppeln, is situated on the Klodnitz, and on the railway betwcen Oppeln and Cracow, 40 miles of the