pamphlets, edited,
arranged and published a host of books, but perhaps his principal work
was an edition of the New Testament in Greek, with notes. His generous
bequests in favour of his own profession are administered by the
Stationers' Company, of which he became a liveryman in 1738, and in
whose hall is his portrait bust and a painting of his father. He was
known as "the learned printer."

BOX (Gr. [Greek: puxos], Lat. _buxus_, box-wood; cf. [Greek: puxis], a
pyx), the most varied of all receptacles. A box may be square, oblong,
round or oval, or of an even less normal shape; it usually opens by
raising, sliding or removing the lid, which may be fastened by a catch,
hasp or lock. Whatever its shape or purpose or the material of which it
is fashioned, it is the direct descendant of the chest, one of the most
ancient articles of domestic furniture. Its uses are infinite, and the
name, preceded by a qualifying adjective, has been given to many objects
of artistic or antiquarian interest.

Of the boxes which possess some attraction beyond their immediate
purpose the feminine work-box is the commonest. It is usually fitted
with a tray divided into many small compartments, for needles, reels of
silk and cotton and other necessaries of stitchery. The date of its
introduction is in considerable doubt, but 17th-century examples have
come down to us, with covers of silk, stitched with beads and adorned
with embroidery. In the 18th century no lady was without her work-box,
and, especially in the second half of that period, much taste and
elaborate pains were expended upon the case, which was often exceedingly
dainty and elegant. These boxes are ordinarily portable, but sometimes
form the top of a table.

But it is as a receptacle for snuff that the box has taken its most
distinguished and artistic form. The snuff-box, which is now little more
than a charming relic of a disagreeable practice, was throughout the
larger part of the 18th century the indispensable companion of every man
of birth and breeding. It long survived his sword, and was in frequent
use until nearly the middle of the 19th century. The jeweller, the
enameller and the artist bestowed infinite pains upon what was quite as
often a delicate bijou as a piece of utility; fops and great personages
possessed numbers of snuff-boxes, rich and more ordinary, their
selection being regulated by their dress and by the relative splendour
of the occasion. From the ch