tistical aspects
of social questions. The results of these are chiefly embodied in a work
entitled _Life and Labour of the People in London_ (1891-1903), of which
the earlier portion appeared under the title of _Life and Labour_ in
1889. The book is designed to show "the numerical relation which
poverty, misery and depravity bear to regular earnings and comparative
comfort, and to describe the general conditions under which each class
lives." It contains a most striking series of maps, in which the varying
degrees of poverty are represented street by street, by shades of
colour. The data for the work were derived in part from the detailed
records kept by school-board "visitors," partly from systematic
inquiries directed by Mr Booth himself, supplemented by information
derived from relieving officers and the Charity Organization Society. Mr
Booth also paid much attention to a kindred subject--the lot of the aged
poor. In 1894 he published a volume of statistics on the subject, and,
in 1891 and 1899, works on Old-age pensions, his scheme for the latter
depending on a general provision of pensions of five shillings a week to
all aged persons, irrespective of the cost to the state. He married, in
1871, the daughter of Charles Zachary Macaulay. In 1904 he was made a
privy councillor.

BOOTH, EDWIN [THOMAS] (1833-1893), American actor, was the second son of
the actor Junius Brutus Booth, and was born in Belair, Maryland, on the
13th of November 1833. His father (1796-1852) was born in London on the
1st of May 1796, and, after trying printing, law, painting and the sea,
made his first appearance on the stage in 1813, and appeared in London
at Covent Garden in 1815. He became almost at once a great favourite,
and a rival of Kean, whom he was thought to resemble. To Kean's Othello
nevertheless he played Iago on several occasions. Richard III., Hamlet,
King Lear, Shylock and Sir Giles Overreach were his best parts, and in
America, whither he removed in 1821, they brought him great popularity.
His eccentricities sometimes bordered on insanity, and his excited and
furious fencing as Richard III. and as Hamlet frequently compelled the
Richmond and Laertes to fight for their lives in deadly earnest.

Edwin Booth's first regular appearance was at the Boston Museum on the
10th of September 1849, as Tressel to his father's Richard, in Colley
Cibber's version of _Richard III._ He was lithe and graceful in figure,
buoyant in spirit