selves in the construction of globes. The Venetian Coronelli (who died 1718) prepared, in 1683, with the assistance of Claudius Molinet and other Parisian artists, a terrestrial globe, for Louis XIV, 12 Parisian feet in diameter. The same artist made a celestial globe of the same size. Funk, in Leipsic, published, in 1780, models in the form of cones (coniglobia), as substitutes for celestial globes. These cones may be made almost as serviceable as globes, and are incomparably cheaper. Some of the best modern globes are those made since 1790, at Nuremberg, after the direction of the famous observer Bode. Adam and Cary's globes, of London, are very good. Globes have been lately made in England, for the use of learners, with nothing but the meridians and parallels of latitude drawn indelibly on them. They are covered with a substance on which drawings can be made with a slate pencil, and easily effaced. In the U. States, white globes have been prepared, on which the pupil can draw with a black lead pencil, and rub out the work at pleasure. Either sort must be highly useful in schools where geography is carefully studied. Among the most remarkable globes in existence, that of Gottorp, in the academy of sciences of Petersburg, is worthy of notice. This is a large concave sphere, 11 feet in diameter, containing a table and seats for 12 persons, to whom the inside surface represents the visible phenomena of the heavens. The stars are distinguished by gilded nails, according to their respective magnitudes, and arranged in groups, as the different constellations require. The outside is a terrestrial globe, representing the land and water on the surface of the earth. It is called the globe of Gottorp, from being substituted for one originally made in that place, which, with inconceivable labor, was conducted upon rollers and sledges, over snow, and through forests, to Riga, and thence by sea to Petersburg. In 1751, it was consumed by fire, and from its iron plates and materials, the present globe was made. But, large as these globes are, they become diminutive when compared with the sphere constructed by the late doctor Long. This is 18 feet in diameter; and it will enable 30 persons to sit within its concavity, without any inconvenience. The entrance is over the south pole, by six steps. This wonderful machine stands in Pembroke hall, in the university of Cambridge. All the constellations and stars of the northern hemisphere. visible at Cambridge, are painted upon plates of

iron, which, joined together, form one concave surface. Unhappily, it is now very much damaged.-The Celestial Globe. The general definitions given of the terrestrial globe, apply also to the celestial, the various circles of which are more aptly illustrated by the armillary sphere,* which is well adapted to give youth just notions of those imaginary circles, which astronomers have applied to what is vulgarly called the concave sphere of the heavens; but by means of those circles, we investigate, with the nicest accuracy, the motions of the celestial bodies. There are six great circles of the sphere, which require particular attention, but which the reader is now acquainted with: they are, the horizon, the meridian, the equator, the ecliptic, the equinoctial colure, and the solstitial colure. The sphere is contained in a frame, on the top of which is a broad circle, representing the meridian. It is suspended on two pins, at opposite points of the meridian. These pins are a continuation of the axis of the sphere both ways, and as the sphere turns round upon them, they are considered as poles, north and south. The equator goes round the sphere, exactly in the iniddle, between the two poles. The ecliptic, the colures, the tropics, and polar circles, have been already defined, and are easily discovered. The horizon is graduated, according to the division of the circle, into quadrants and degrees; and, to refer celestial objects to the horizon, we have also the points of the compass laid down. Hence the amplitude, or distance, of heavenly bodies, from the E. and W. points, and their azimuth, or distance from the meridian, are reckoned on the horizon of the armillary sphere. The graduation of the equator enables us to fix the right ascension of celestial, and the longitude of terrestrial objects. The graduation of the ecliptic serves to indicate, in the armiliary sphere, the latitude and longitude of celestial bodies. The coiures are, in a manner, the limits of the year, pointing out the seasons by their two opposite points of the ecliptic. The hour circle tells us in what time any motion of the earth, in the centre, is performed. Ir fine, many details of the science may be pleasingly and popularly illustrated by this contrivance. The appearances of the stars in the heavens illustrated by the armillary sphere.-By placing small patches of paper

*So called because it consists of a number of

rings of brass, which the old Romans named armille, from their resemblance, perhaps, te bracelets, or rings for the arms

according to the terms of the armistice concluded with the then count d'Artois. The city has some manufactories and a brisk inland trade. Lat. N. 51° 38'; lon. E. 16° 6' 53". Twenty leagues N. W. of Breslau.

GLORIA IN EXCELSIS, GLORIA PATRI; glory to God in the highest. (See Doxology.)

GLORIOSA SUPERBA; an ornamental plant, native of India, and belonging to the natural order liliacea. The root is perennial; the stem herbaceous, weak, from six to ten feet high, bearing two opposite lateral branches; the leaves alternate, terminating in tendrils; the flowers remarkably elegant, of a beautiful red and yellow color, provided with six long, lanceolate undulated petals, which are entirely reflexed. It is a tender stove plant, and great heat is necessary to produce the flowers. During winter, the roots should be kept in a warm place, packed in dry sand, without water.

GLOSS; the explanation of an obscure word, particularly of an antiquated or obsolete word. Hence glossist, an interpreter, and glossary, a collection of such words. A kind of poems, which originated in Spain and Portugal, and has been imitated in Germany, is called gloss. It begins with a theme of two, three or more verses, which is developed in an equal number of stanzas, each of which ends with one of those verses, in the order in which they originally stand. The two Schlegels call them also variations, because they resemble variations in musić.

GLOTTIS (from yλorra, the tongue); the superior opening of the larynx at the bottom of the tongue.

GLOUCESTER; a city of England, the capital of the county of the same name, on the Severn, about 30 miles above its junction with the Bristol channel. The chief manufactory at Gloucester is that of pins, which is the most extensive in the kingdom; and a bell foundery has also been long established. The city consists chiefly of four spacious streets, meeting each other in the centre. The public buildings are handsome; but the chief object of interest is the cathedral of St. Peter, originally the abbey. This building combines in one specimen the architecture of successive ages, the Norman and Saxon, with some of the finest examples of the Gothic or English. Gloucester contains, also, five parish churches, several meetinghouses, and a synagogue; two grammar schools, a charity school, and several hospitals. A mineral spring, surpassing those

of Cheltenham in its powers, has lately been discovered. A handsome pumproom has been erected, with hot, cold and vapor baths. Gloucester is the see of a bishop. It returns two members to parliament, the number of electors being 2000. It is governed by a mayor, 12 aldermen, &c. Population, 9744. 106 miles W. by S. Londou.

GLOVER, Richard, an English poet, was the son of Richard Glover, a merchant of London, where he was born in 1712. Being intended for trade, although he received a classical education at a private school, it was not followed up by an attendance at either university. He early displayed an attachment to the belles-lettres, and, when only sixteen, wrote some verses to the memory of sir Isaac Newton, which obtained considerable attention. In 1737, he published the epic poem of Leonidas, which was favored by the party in opposition to sir Robert Walpole, headed by Frederic prince of Wales. It abounds in noble sentiments, considerably varied by incident and description; but it wants interest, and is not sufficiently imaginative for lasting popularity. The Progress of Commerce followed in 1739; one of the objects of which was to rouse a spirit of national hostility against the Spaniards and the ministry-a purpose which was much more effectually answered by his celebrated ballad of Hosier's Ghost. In 1742, he was chosen by the London merchants to conduct an application to parliament, complaining of the neglect of trade; and the speech which he pronounced at the bar of the house was printed, and much applauded. While rising to notice, as a public man, however, he became embarrassed in his private affairs, and made a temporary but honorable retreat, with a view to greater economy. In 1753, his tragedy of Boadicea was performed at Drury-lane theatre, with partial_success. His Medea, imitated from Euripides and Seneca, in 1761, obtained greater attention. About this time, being chosen member of parliament for Weymouth, he was esteemed by the mercantile interest as an active and able supporter. He died in November, 1785, at the age of seventy-three. He left behind him another epic poem, forming a sequel to Leonidas, entitled the Athenaid, which was published in 1788, bu: attracted little attention.

GLOVES, with respect to commerce, are distinguished into wash or tan leather, silk, thread, cotton, worsted, &c. Leathern gloves are made of the skin of the chamois,

rendered perfectly insoluble. The alumine and glucine are then redissolved in water, acidulated with muriatic acid, and thrown down together by pure ammonia. The precipitate, after being well washed, is macerated with a large excess of carbonate of ammonia, by which glucine is dissolved ; and on boiling the filtered liquid, carbonate of glucine subsides, which, on being heated to redness, affords pure glucine. In this condition, it is white, tasteless, without odor, and quite insoluble in water. Specific gravity, 3. Vegetable colors are not affected by it. It is supposed, by analogy, to be the oxide of a metal, and its supposed metallic base is called glucinum. The salts which glucine forms with acids have a sweetish taste; hence its name from yλukùs, sweet.

GLUCK (the chevalier Christopher). This musical composer, to whom the opera is indebted for its splendor and dramatic perfection, sprung from a respectable family in the palatinate of Bavaria, where he was born, in the village of Weissenwangen, on the Bohemian border, in the year 1714. His father was master of the chase to the prince Lobkowitz. From his earliest youth, he devoted himself to the study of music, and discovered talents of a high order; but it was not till after his fortieth year that he gave his immortal masterpieces to the world. Gluck studied the elements of music in Prague, was singer in a choir of that city, and soon became a skilful performer on several instruments. In 1738, he visited Italy, and studied composition under San Martini. His first opera, Artaxerxes, was written and performed in Milan, and another (Demetrius) in Venice, in 1742. A third (The Fall of the Giants), he composed for the Italian opera in London, whither he went in the year 1745. During his residence there, the society of doctor Arne and his wife, an excellent opera singer, had a great Afluence on the simplicity of his producdions. This period was the most fruitful, in respect to the number of his works. In the space of eighteen years, he composed about forty-five operas; but none of these as yet exhibited that power and depth, which he was to unfold in his later efforts. Gluck had hitherto followed the then fashionable style and taste of the Italian opera. He was sensible of its defects, and felt how little his music, as a whole, could lay claim to real dramatic inerit. The chief obstacle to the attaininent of true dramatic perfection by the composer, was the empty and disconnect-. ed character of the poetry. It was not

till accident made him acquainted with a man, who had the boldness and energy to strike out an independent path in the poetical department, that Gluck was enabled to do the same in the musical. This man was the Florentine Ranieri di Calsabigi, with whom Gluck became acquainted in Vienna, and who furnished him with a series of texts, in which the unity of the whole and the necessary connexion of the different parts, contrasted strongly with the loose, disconnected airs, duets and dialogues of former works, in which no attention had been paid to dramatic unity, but every thing was sacrificed to momentary effect, or to the vanity of a singer who was anxious to shine in particular scenes and airs, at the expense of the whole. The operas Alceste, Orpheus, and Helena and Paris, which Gluck composed in Vienna, between the years 1762 and 69, and which were there published, produced an overwhelming effect, by their boldness and originality, and served, together with the later ones, Armida and the two Iphigenias, to establish the fame of their author. Even in Italy, where the taste of the people had long been perverted. the severe and lofty muse of the German artist was received with enthusiasm, and the theatres of Rome, Parma, Naples, Milan and Venice, hastened to give his Helen and Orpheus. Alceste was not, at that time, attempted in Italy, as Gluck himself says, on account of the difficulty of the execution. So popular were these operas, that the theatre in Bologna alone took 900,000 lire (about 180,000 dollars) in one winter, and by one play (Orpheus). Still greater was the triumph of the later works, above mentioned. Durollet, who, during his residence in Vienna, had become acquainted with Gluck, undertook to convert Racine's Iphigenia into an opera, and offered his friend the text for composition, an offer which Gluck more readily accepted, as he was impressed with the idea that the French language was better adapted to the expression of strong, deep and manly feeling, even in music, than the Italian-an opinion which, as far as it regarded music, was directly contrary to Rousseau's, and which, notwithstanding the popularity of Gluck's music on the French stage, time has not confirmed. With a degree of care which he had nev er before given, Gluck now began his task Instead of the two or three weeks which he had formerly occupied in the composition of an opera, a whole year was given to the completion of the masterpiece which he designed for Paris