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 that was suitable—at one time potato-pulp was extensively used—to a frame of gold encased with diamonds, a great variety of materials was employed. Tortoise-shell was a favourite, and owing to its limpid lustre it was exceedingly effective. Mother-of-pearl was also used, together with silver, in its natural state or gilded. Costly gold boxes were often enriched with enamels or set with diamonds or other precious stones, and sometimes the lid was adorned with a portrait, a classical vignette, or a tiny miniature, often some choice work by an old master. After snuff-taking had ceased to be general it lingered for some time among diplomatists, either because—as Talleyrand explained—they found a ceremonious pinch to be a useful aid to reflection in a business interview, or because monarchs retained the habit of bestowing snuff-boxes upon ambassadors and other intermediaries, who could not well be honoured in any other way. It is, indeed, to the cessation of the habit of snuff-taking that we may trace much of modern lavishness in the distribution of decorations. To be invited to take a pinch from a monarch’s snuff-box was a distinction almost equivalent to having one’s ear pulled by Napoleon. At the coronation of George IV. of England, Messrs Rundell & Bridge, the court jewellers, were paid £8205 for snuff-boxes for foreign ministers. Now that the snuff-box is no longer used it is collected by wealthy amateurs or deposited in museums, and especially artistic examples command large sums. George, duke of Cambridge (1819–1904), possessed an important collection; a Louis XV. gold box was sold by auction after his death for £2000.

A jewel-box is a receptacle for trinkets. It may take a very modest form, covered in leather and lined with satin, or it may reach the monumental proportions of the jewel cabinets which were made for Marie Antoinette, one of which is at Windsor, and another at Versailles, the work of Schwerdfeger as cabinet-maker, Degault as miniature-painter, and Thomire as chaser.

A strong-box is a receptacle for money, deeds and securities. Its place has been taken in modern life by the safe. Some of those which have survived, such as that of Sir Thomas Bodley in the Bodleian library, possess locks with an extremely elaborate mechanism contrived in the under-side of the lid.

The knife-box is one of the most charming of the minor pieces of furniture which we owe to the artistic taste and mechanical ingenuity of the English cabinet-makers of the last quarter of the 18th century. Some of the most elegant were the work of Adam, Hepplewhite and Sheraton. Occasionally flat-topped boxes, they were most frequently either vase-shaped, or tall and narrow with a sloping lid necessitated by a series of raised stages for exhibiting the handles of knives and the bowls of spoons. Mahogany and satinwood were the woods most frequently employed, and they were occasionally inlaid with marqueterie or edged with boxwood. These graceful receptacles still exist in large numbers; they are often converted into stationery cabinets.

The Bible-box, usually of the 17th century, but now and again more ancient, probably obtained its name from the fact that it was of a size to hold a large Bible. It often has a carved or incised lid.

The powder-box and the patch-box were respectively receptacles for the powder and the patches of the 18th century; the former was the direct ancestor of the puff-box of the modern dressing-table.

The étui is a cylindrical box or case of very various materials, often of pleasing shape or adornment, for holding sewing materials or small articles of feminine use. It was worn on the châtelaine.

 BOXING (M.E. box, a blow, probably from Dan. bask, a buffet), the art of attack and defence with the fists protected by padded gloves, as distinguished from pugilism, in which the bare fists, or some kind of light gloves affording little moderation of the blow, are employed. The ancient Greeks used a sort of glove in practice, but, although far less formidable than the terrible caestus worn in serious encounters, it was by no means so mild an implement as the modern boxing-glove, the invention of which is traditionally ascribed to Jack Broughton (1705–1789), “the father of British pugilism.” In any case gloves were first used in his time, though only in practice, all prize-fights being decided with bare fists. Broughton, who was for years champion of England, also drew up the rules by which prize-fights were for many years regulated, and no doubt, with the help of the newly invented gloves, imparted instruction in boxing to the young aristocrats of his day. The most popular teacher of the art was, however, John Jackson (1769–1845), called “Gentleman Jackson,” who was champion from 1795 to 1800, and who is credited with imparting to boxing its scientific principles, such as countering, accurate judging of distance in hitting, and agility on the feet. Tom Moore, the poet, in his Memoirs, asserted that Jackson “made more than a thousand a year by teaching sparring.” Among his pupils was Lord Byron, who, when chided for keeping company with a pugilist, insisted that Jackson’s manners were “infinitely superior to those of the fellows of the college whom I meet at the high table,” and referred to him in the following lines in Hints from Horace:— His rooms in Bond Street were crowded with men of birth and distinction, and when the allied monarchs visited London he was entrusted with the management of a boxing carnival with which they were vastly pleased. In 1814 the Pugilistic Club, the meeting-place of the aristocratic sporting element, was formed, but the high-water mark of the popularity of boxing had been reached, and it declined rapidly, although throughout the country considerable interest continued to be manifested in prize-fighting.

The sport of modern boxing, as distinguished from pugilism, may be said to date from the year 1866, when the public had become disgusted with the brutality and unfair practices of the professional “bruisers,” and the laws against prize-fighting began to be more rigidly enforced. In that year the “Amateur Athletic Club” was founded, principally through the efforts of John G. Chambers (1843–1883), who, in conjunction with the 8th marquess of Queensberry, drew up a code of laws (known as the Queensberry Rules) which govern all glove contests in Great Britain, and were also authoritative in America until the adoption of the boxing rules of the Amateur Athletic Union of America. In 1867 Lord Queensberry presented cups for the British amateur championships at the recognized weights.

For the history of pugilism in classic antiquity and an account of modern prize-fighting see. At present two kinds of boxing contests are in vogue, that for a limited number of rounds (as in the amateur championships) and that for endurance, in which the one who cannot continue the fight loses. Endurance contests, which contain the essential element of the old prize-fights, are now indulged in only by professionals. Among amateurs boxing is far less popular than it once was, owing to the importance placed upon brute strength, and the prevailing ambition of the modern boxer to “knock out” his opponent, i.e. reduce him to a state of insensibility. Even in 3-round matches between gentlemen, in which points win, and there is therefore no need to knock an opponent senseless, it is nevertheless a common practice to strike a dazed and reeling adversary a heavy blow with a view to ending the battle at once. During the annual boxing competitions between Oxford and Cambridge more than half the bouts have been known to end in this manner. Undoubtedly the prettiest boxing is seen when two men proficient in the art indulge in a practice bout—or “sparring.”

Boxing is the art of hitting without getting hit. The boxers face each other just out of reach and balanced equally on both feet, the left from 10 to 20 in. in advance of the right. The left foot is planted flat on the floor, while the right heel is raised slightly from it. The left side of the body is turned a little towards the opponent and the right shoulder slightly depressed. When the hands are clenched inside the gloves the thumb is doubled over the second and third fingers to avoid a sprain when hitting. The general position of the guard is a matter of individual taste. In the “crouch,” affected by many American professionals, the right hip is thrust forward and the body bent over towards the right, while the left arm is kept well stretched