BOOKSELLERS' MARKS. An acquaintance with marks, on the title pages of books, is of some use; because many ancient books have no other designation either of printer, bookseller, or even city. The anchor is the mark of Raphelengius at Leyden; the same with a dolphin twisted round it, of the Manutii at Venice and Rome; the Arion of Oporinus at Basil; the caduceus, or Pegasus, of the Wecheliuses at Paris and Francfort; the cranes of Cramoisy; the compass of Blantin at Antwerp; the fountain of Vascosan at Paris; the sphere in a balance, of Janson and Blaew at Amsterdam; the lily of the Juntas at Venice, Florence, Lyons, and Rome; the mulberry-tree of Morel at Paris; the olive-tree of the Stephenses at Paris and Geneva, and the Elzevirs at Amsterdam and Leyden; the bird between two serpents, of the Frobeniuses at Basil; the Truth of the Comelins at Heidelberg and Paris; the Saturn of Colinæus; and the printing-press of Badius, Ascensius, &c.

BOOK-WORM is an insect of the mite kind, which afterwards becomes a fly, bred from eggs deposited in the month of August in books, especially in the leaves nearest the covers. It

purpose

not unlike the mite or blatta found in corn. When the time of its transformation approaches, it seeks to get into the air, and eats through, till it gets to the extremity of the book. The mixture of juice of wormwood and other bitter ingredients in the paste (which is an expedient used by book-binders), is no security to books against book-worms. The best security is from mineral salts, which all insects hate. For this book-binders ought to mix with the paste employed in binding, the salt called arcanum duplicatum, alum, and vitriol. With this precaution books may be preserved from all injury by this mischievous little creature. M. Prediger, in his Instructions to German Book-binders, (Leipsic, 1741,) recommends making paste of starch, instead of flour; and advises to powder slightly the books, their covers, and the shelves on which they stand, with a mixture of powder of alum, and fine pepper; and in the months of March, July, and September, to rub the books with a piece of woollen cloth steeped in powdered

alum.

BOOʻLY, n. s. An Irish term.

All the Tartarians, and the people about the Caspian Sea, which are naturally Scythians, live in hordes; being the very same that the Irish boolies are, driving their cattle with them, and feeding only Spenser.

on their milk and white meats.

BOOM', n. s. From Dutch, boom, a tree. In sea language, a long pole used to spread out the clue of the studding sail; and sometimes the clues of the mainsail and foresail are boomed out. A poll with bushes or baskets, set up as a mark to show the sailors how to steer in the channel, when a country is overflown. A bar of wood laid across a harbour, to keep off the

BOOMITES, a kind of agate, of remarkable brightness and transparence, which represents the figures of shrubs, trees, mosses, &c. in the man

ner of the dendrachates, or mocho-stone.

BOON', n. From Sax. bene, a petition. A gift; a grant; a benefaction; a present. Vouchsafe me for my meed but one fair look: A smaller boon than this I cannot beg, And less than this, I'm sure, you cannot give. Shakspeare. That courtier, who obtained a boon of the emperor, that he might every morning whisper him in the ear, self. say nothing, asked no unprofitable suit for himBacon.

and

BOONDY, a town of Hindostan, the residence of a rajah, in the province of Ajmeer, and tributary to the Mahrattas. It is situated on the declivity of a long range of hills, which run The palace of the nearly from east to west. rajah is a large massy stone building, well fortified. In the retreat of the British toops under colonel Manson in 1804, the rajah rendered

them considerable assistance.

BOONEN (Arnold), portrait painter, born at Dort in 1669, was at first a disciple of Arnold Verbuis, and afterwards of Godfrey Schalcken, with whom he continued six years. The sweetness of his coloring, and the neatness of his touch, with a striking likeness in his portraits, procured him many admirers. He painted subjects by candle light very naturally, and much more of his work was requested than it was possible for him to undertake. He painted Peter the Great of Muscovy; Frederic 1. of Prussia; the duke of Marlborough, many of the princes of Germany, and most of the noblemen who attended the Czar; but his excessive application, to answer the multitude of his engage

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