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Rh tind in the United States, for instruction in chemical analysis and chemistry applied to the arts. A course under Dr. Booth was considered essential to those who followed chemistry, and many of his students have become well known. Among these are J. F. Frazer, Thos. H. Garrett, his late partner, R. S. McCuUoh, Campbell Morfit, Clarence Morfit, and R. E. Rogers. During the same year (1830) he became professor of applied chemistry at the Franklin institute, and for nine successive winters he continued his lectures, making three full courses of three years each. In 1849 he was appointed melter and refiner of the U. S. mint in Philadelphia, a place which he retained until 1888. His published papers cover topics in the entire domain of analytical and technical chemistry. His larger works include the first and second "Animal Report of the Delaware Geological Survey " (Dover, 1839); "The Memoirs of the Geological Survey of the State of Delaware" (Dover, 1841); "Encyclopaedia of Chemistry," in the preparation of which he was assisted by Martin H. Boye, R. S. McCulloh, and Campbell Morfit (Philadelphia, 1850); and a report on "Recent Improvements in the Chemical Arts" (Washington, 1852). He was president of the American chemical society in 1884 and 1885.

BOOTH, Junius Brutus, actor, b. in London, 1 May, 1796; d. 3 Nov., 1852. His father, Richard Booth, the son of a silversmith of Bloomsbury, after studying law, having become imbued with republican ideas, embarked with a cousin to volunteer in the cause of American independence, but was taken prisoner and carried back to England. He practised his profession with success, lived in affluence in Bloomsbury, and was known as a scholar, but unpopular on account of his republicanism. It was one of his eccentricities to insist upon his friends paying reverence to a portrait of Washington in his drawing-room. Junius Brutus, the eldest son, received a classical education, essayed painting, sculpture, and poetry, was induced for a time to work in his father's office with a view of becoming a solicitor, and then, evincing a preference for naval life, was commissioned as a midshipman to Capt. Blythe's brig &ldquo;Boxer&rdquo;; but, when that vessel was ordered to Nova Scotia, the father, unwilling that his son should serve against the United States, dissuaded him from joining the ship. After appearing as an amateur in a small London theatre, he announced his intention of becoming an actor, and, against his father's wishes, made an engagement, and played subordinate parts, in Peckham, Deptford, and in 1814 made a professional tour through Holland and Belgium. A few critics and influential friends, who recognized his talents, seconded his efforts to secure a London engagement; but he was forced to accept an offer to play in the Worthing and Brighton theatres for the season of 1815. He left there in October, having finally secured a contract with the management of Covent Garden theatre. But, as he was announced for inferior parts instead of for Richard III., he returned to Worthing, and gained a triumph as a substitute for Edmund Kean in the character of Sir Giles Overreach, captivating an audience that was at first indignant at the young actor's presumption. He continued to play at Worthing, and found influential admirers, who prevailed upon the manager, Harris, to give him a trial as Richard III. at Covent Garden, where he appeared in that character on 17 Feb., 1817, and delighted the metropolitan audience. Before the third performance, after a quarrel with the manager, he was induced by Kean, of the Drury lane company, to enter into an engagement with the

rival theatre, where he was announced to play Iago to Kean's Othello; but he soon learned with chagrin that in entrapping him into signing the articles Kean designed only to prevent rivalry by robbing the new favorite of the opportunity to appear in leading parts. Booth, when made aware of this, signed an agreement with the proprietors of Covent Garden theatre, who apprised him of legal flaws in the Drury lane contract. The town was divided into Boothites and Keanites, and Booth's reappearance at Covent Garden as Richard was the occasion of a riotous tumult, which was renewed on subsequent evenings. He played Richard and Sir Giles Overreach alternately, and then Posthumus in &ldquo;Cymbeline,&rdquo; appeared as Othello at Woolwich, afterward as Sir Edward Mortimer in &ldquo;The Iron Chest&rdquo; at Covent Garden, acted with applause, in July, 1818, at Glasgow and Edinburgh, strolled through the provinces, gave Shylock in the Jewish dialect at Covent Garden during the succeeding autumn, and in the winter entered into an engagement with the Coburg theatre, where he acted Richard, Horatius, and Brutus. In April, 1820, he appeared again at Covent Garden as Lear, which was recognized as one of his finest parts. In August, 1820, he performed with Kean at Drury lane, playing Iago, Edgar in &ldquo;King Lear,&rdquo; and Pierre. In the winter, while Kean was in the United States, he acted Lear, Cassius, and the part of an Indian chief at Drury lane theatre. On 18 Jan., 1821, Mr. Booth married Mary Anne Holmes, and after a wedding tour they sailed for the West Indies, but stopped at Madeira, and took passage thence for the United States, landing at Norfolk, Va., 30 June, 1821. On 6 July, Booth appeared in Richmond. His freedom from vanity and calculating self-interest was evinced in his sudden arrival unheralded in the United States. After a triumphant appearance in New York and in southern cities he seriously entertained the idea of retiring from the stage and spending his days in quiet as a light-house keeper. His first appearance in New York was at the Park theatre on 5 Oct., 1821. In the summer of 1822 he purchased, in Harford co., Md., twenty-five miles from Baltimore, a retreat in the midst of woods, to which he always afterward retired when not occupied on the stage, and where he carried on amateur farming with the help of a few slaves. Thither his father, the constant admirer of America, came the same year to pass his remaining days. In 1825 he again visited London with his family, and when the Royalty theatre was burned lost his entire wardrobe. After he returned to the United States he began an engagement at the Park theatre, New York, on 24 March, 1827, in which he acted Selim in the &ldquo;Bride of Abydos&rdquo; at his benefit. In June he appeared in the part of Pescara in &ldquo;The Apostate,&rdquo; a character written for him by Shiel. In 1828 he undertook the management of the Camp street theatre in New Orleans, and, while playing Richard III. to packed houses, studied French parts, and afterward personated characters in several French dramas, astonishing the audience with the purity of his accent and his familiarity with the peculiarities of French acting. The manager of the Théâtre d'Orléans persuaded him to take the part of Orestes in Racine's &ldquo;Andromaque,&rdquo; in which he greatly pleased the French-speaking public. In September, 1831, in New York, he played Pierre in &ldquo;Venice Preserved,&rdquo; and Othello to Forrest's Jaffier and Iago. The same year he took the lease of the Adelphi theatre in Baltimore. While his theatre was undergoing repairs he took the Holiday street theatre. During the season he