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Boston in New England, Intoxicant Town

Published online by Cambridge University Press:  20 May 2021

Mark Peterson*
Affiliation:
Department of History, Yale University, USA
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Abstract

This article explores the relationship between a distinctive early modern city, Boston, Massachusetts, and the dramatic expansion of the production and consumption of intoxicants in the emergent Atlantic world. In particular, it attempts to draw together two strands of Boston's history seldom considered together: its origins as an aspirational settlement of English puritans aiming to build a godly city, and the deep involvement of its merchants and consumers in the overseas trade in intoxicants – tobacco, sugar, rum, wine, coffee, tea, chocolate, and others. By considering the cultures of consumption associated with godliness alongside other clusters of consumption in which intoxicants also played a part, it attempts to open new avenues for thinking about the many ways in which new forms and objects of desire transformed the economy and material culture of early modernity.

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Article
Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press
Figure 0

Figure 1. Pieter Breugel the Elder, The tower of Babel, 1563. Bruegel's painting meticulously details the myriad lesser commodities and forms of labour generated by the surrounding walled city and bustling seaport necessary to produce this extraordinary tower.Source: Kunsthistorisches Museum, Vienna.

Figure 1

Figure 2. Richard Collins, A family of three at tea, c. 1727. Collins's oil painting depicts a fashionable English gentry family dressed in silks and satins, taking tea with the latest silver equipment, including a sugar dish, a tea canister, sugar tongs, and a lamp beneath the teapot to keep its contents warm, while showing off their fine porcelain teacups and saucers.Source: Victoria and Albert Museum, London.

Figure 2

Figure 3. John Potter and family, artist unknown, c. 1749. This overmantel painting hung above the fireplace in the parlour of the Potter family home in South Kingstown, Rhode Island. Although the unknown artist lacked the painterly skill of a Richard Collins, we can see that the Potter family's colonial finery fell far short of Collins's metropolitan gentry family (note the absence of silver equipage) and the Potters were less inclined to hide the labour that went into their Z-commodity, preferring to depict their enslaved house servant as another marker of colonial refinement. They were nonetheless attempting to place themselves in the same cluster of commodity consumption as the family in Collins's portrait. That this painting itself hung in a room where the people it depicted took tea adds another level of self-reflective purpose in their embrace of the practice of refinement.Source: Newport Historical Society, Newport, RI.

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Figure 4. Three models of the relationship between household income and consumer choice.Source: After Jan de Vries, The industrious revolution: consumer behavior and the household economy, 1650 to the present (Cambridge, 2008), p. 35.