The Social History of Smoking Part 14

ADDISON, _Spectator_, April 2, 1711.

Shop-signs were one of the most conspicuous features of the streets of old London. In days when the numbering of houses was unknown, the use of signs was indispensable for identification; and greatly must they have contributed to the quaint and picturesque appearance of the streets. Some projected far over the narrow roadway--compet.i.tion to attract attention and custom is no modern novelty--some were fastened to posts or pillars in front of the houses. By the time of Charles II the overhanging signs had become a nuisance and a danger, and in the seventh year of that King's reign an Act was pa.s.sed providing that no sign should hang across the street, but that all should be fixed to the balconies or fronts or sides of houses. This Act was not strictly obeyed; and large numbers of signs were hung over the doors, while many others were affixed to the fronts of the houses. Eventually, in the second half of the eighteenth century, signs gradually disappeared and the streets were numbered. There were occasional survivals which are to be found to this day, such as the barber's pole, accompanied sometimes by the bra.s.s basin of the barber-surgeon, the glorified canister of a grocer or the golden leg of a hosier; and inn signs have never failed us; but by the close of the eighteenth century most of the old trade signs which flaunted themselves in the streets had disappeared.

The sellers of tobacco naturally hung out their signs like other tradesfolk. Signs in their early days were, no doubt, chosen to intimate the trades of those who used them, and in the easy-going old-fashioned days when it was considered the right and natural thing for a son to be brought up to his father's trade and to succeed him therein, they long remained appropriate and intelligible. Later, as we shall see, they became meaningless in many cases. But in the days when tobacco-smoking first came into vogue, the signs chosen naturally had some reference to the trade they indicated, and one of the earliest used was the sign of the "Black Boy," in allusion to the a.s.sociation of the negro with tobacco cultivation. The "Black Boy" existed as a shop-sign before tobacco's triumph, for Henry Machyn in his "Diary,"

so early as December 30, 1562, mentions a goldsmith "dwellying at the sene of the Blake Boy, in the Cheep"; but the early sellers of tobacco soon fastened on this appropriate sign. The earliest reference to such use may be found in Ben Jonson's "Bartholomew Fair," 1614, where, in the first scene, Humphrey Waspe says: "I thought he would have run mad o' the Black Boy in Bucklersbury, that takes the scurvy, roguy tobacco there." Later, the "Black Boy," like other once significant signs, became meaningless and was used in connexion with various trades.

Early in the eighteenth century a bookseller at the sign of the "Black Boy" on London Bridge was advertising Defoe's "Robinson Crusoe"; another bookseller traded at the "Black Boy" in Paternoster Row in 1712. Linendrapers, hatters, p.a.w.nbrokers and other tradesmen all used the same sign at various dates in the eighteenth century. But side by side with this indiscriminate and unnecessary use of the sign there existed a continuous a.s.sociation of the "Black Boy" with the tobacco trade. A tobacconist named Milward lived at the "Black Boy" in Redcross Street, Barbican, in 1742; and many old tobacco papers show a black boy, or sometimes two, smoking. Mr. Holden MacMichael, in his papers on "The London Signs" says: "Mrs. Skinner, of the old-established tobacconist's opposite the Law Courts in the Strand, possessed, about the year 1890, two signs of the 'Black Boy,'

appertaining, no doubt, to the old house of Messrs. Skinner's on Holborn Hill, of the front of which there is an ill.u.s.tration in the Archer Collection in the Print Department of the British Museum, where the black boy and tobacco-rolls are depicted outside the premises."

The "Black Boy," indeed, continued in use by tobacconists until the nineteenth century was well advanced. A tobacconist had a shop "uppon Wapping Wall" in 1667 at the sign of the "Black Boy and Pelican."

Other significant early tobacconists' signs were "Sir Walter Raleigh,"

"The Virginian" and "The Tobacco Roll." "Sir Walter," as the reputed introducer of tobacco, was naturally chosen as a sign, and his portrait adorns several shop-bills in the Banks Collection. The American Indians, represented under the figure of "The Virginian," and the negroes were hopelessly confused by the early tobacconists, with results which were sometimes surprising from an ethnological point of view. As the first tobacco imported into this country came from Virginia, a supposed "Virginian" was naturally adopted as a tobacco-seller's sign at an early date. An "Indian" or a "Negro" or a figure which was a combination of both, was commonly represented wearing a kilt or a girdle of tobacco leaves, a feathered head-dress, and smoking a pipe. A tobacco-paper, dating from about the time of Queen Anne, bears rudely engraved the figure of a negro smoking, and holding a roll of tobacco in his hand. Above his head is a crown; behind are two ships in full sail, with the sun just appearing from the right-hand corner above. The foreground shows four little black boys planting and packing tobacco, and below them is the name of the ingenious tradesman--"John Winkley, Tobacconist, near ye Bridge, in the Burrough, Southwark." Sixty years or so ago a wooden figure, representing a negro with a gilt loin-cloth and band with feathered head, and sometimes with a tobacco roll, was still a frequent ornament of tobacconists' shops.

The "Tobacco Roll," either alone or in various combinations, was one of the commonest of early tobacconists' signs, and was in constant use for a couple of centuries. It may still be occasionally seen at the present time in the form of the "twist" with alternate brown or black and yellow coils, which up to quite a recent date was a tolerably frequent adornment of tobacconists' shops, but is now rare. This roll represented what was called spun or twist tobacco. Dekker, in James I's time, speaks of roll tobacco. The youngster who mimics the stage-gallants in Jonson's "Cynthia's Revels" as described in Chapter II (_ante_; page 31), says that he has "three sorts of tobacco in his pocket," which probably means that it was customary to mix for smoking purposes tobacco of the three usual kinds--roll (or pudding), leaf and cane. One would have thought that a representation of the tobacco plant itself would have been a more natural and comprehensive sign than one particular preparation of the herb, yet representations of the plant were rare, while those of the compressed tobacco known as pudding or roll in the form of a "Tobacco Roll," as described above, were very frequently used as signs.

From the examples given in Burn's "Descriptive Catalogue of London Tokens" of the seventeenth century, it is clear that the "Tobacco Roll" was a warm favourite. "Three Tobacco Rolls" was also used as a sign. In 1732 there was a "Tobacco Roll" in Finch Lane, on the north side of Cornhill, "over against the Swan and Rummer Tavern." In 1766, Mrs. Flight, tobacconist, carried on her business at the "Tobacco Roll. Next door but one to St. Christopher's Church, Threadneedle Street."

The shop-bill of Richard Lee, who sold tobacco about 1730 "at Ye Golden Tobacco Roll in Panton Street near Leicester Fields," is an elaborate production. Hogarth in the earlier period of his career as an engraver engraved many shop-bills, and this particular bill is usually attributed to him, though the attribution has been disputed.

There is a copy of the bill in the British Museum, and in the catalogue of the prints and drawings in the National Collection Mr.

Stephens thus describes it: "It is an oblong enclosing an oval, the spandrels being occupied by leaves of the tobacco plant tied in bundles; the above t.i.tle (Richard Lee at Ye Golden Tobacco Roll in Panton Street near Leicester Fields) is on a frame which encloses the oval. Within the latter the design represents the interior of a room, with ten gentlemen gathered near a round table on which is a bowl of punch; several of the gentlemen are smoking tobacco in long pipes; one of them stands up on our right and vomits; another, who is intoxicated, lies on the floor by the side of a chair; a fire of wood burns in the grate; on the wall hangs two pictures ... three men's hats hang on pegs on the wall." Altogether this is an interesting and suggestive design, but hardly in the taste likely to commend itself to present day tradesmen.

A roll of tobacco, it may be noted, was a common form of payment to the Fleet parsons for their scoundrelly services. Pennant, writing in 1791, describes how these men hung out their frequent signs of a male and female hand conjoined, with the legend written below: "Marriages performed within." Before his shop walked the parson--"a squalid, profligate figure, clad in a tattered plaid nightgown, with a fiery face, and ready to couple you for a dram of gin, or roll of tobacco."

Combinations of the roll in tobacconists' signs occur occasionally. In 1660 there was a "Tobacco Roll and Sugar Loaf" at Gray's Inn Gate, Holborn. In 1659 James Barnes issued a farthing token from the "Sugar Loaf and Three Tobacco Rolls" in the Poultry, London. The "Sugar Loaf"

was the princ.i.p.al grocer's sign, and so when it is found in combination with the tobacco roll at this time it may reasonably be a.s.sumed that the proprietor of the business was a grocer who was also a tobacconist.

Before the end of the seventeenth century, however, the signs were ceasing to have any necessary a.s.sociation with the trade carried on under them, and tobacconists are found with shop-signs which had no reference in any way to tobacco. For instance, to take a few examples from the late Mr. Hilton Price's lists of "Signs of Old London" from Cheapside and adjacent streets, in 1695 John Arundell, tobacconist, was at the "White Horse," Wood Street; in the same year J. Mumford, tobacconist, was at the "Faulcon," Laurence Lane; in 1699 Mr. Brutton, tobacconist, was to be found at the "Three Crowns," under the Royal Exchange; in 1702 Richard Bronas, tobacconist, was at the "Horse Shoe," Bread Street; and in 1766 Mr. Hoppie, of the "Oil Jar: Old Change, Watling Street End," advertised that he "sold a newly invented phosphorus powder for lighting pipes quickly in about half a minute.

Ask for a Bottle of Thunder Powder."

Again, in Fleet Street, Mr. Townsend, tobacconist, traded in 1672 at the "Three Golden b.a.l.l.s," near St. Dunstan's Church; while at the end of Fetter Lane, a few years later, John Newland, tobacconist, was to be found at the "King's Head."

Addison, in the twenty-eighth _Spectator_, April 2, 1711, took note of the severance which had taken place between sign and trade, and of the absurdity that the sign no longer had any significance. After satirizing first, the monstrous conjunctions in signs of "Dog and Gridiron," "Cat and Fiddle" and so forth; and next the absurd custom by which young tradesmen, at their first starting in business, added their own signs to those of the masters under whom they had served their apprenticeship; the essayist goes on to say: "In the third place I would enjoin every shop to make use of a sign which bears some affinity to the wares in which it deals. What can be more inconsistent than to see ... a tailor at the Lion? A cook should not live at the Boot, nor a Shoe-maker at the Roasted Pig; and yet for want of this regulation, I have seen a Goat set up before the door of a perfumer, and the French King's Head at a sword-cutler's."

Notwithstanding the few examples given above, tobacconists, more than most tradesmen, seem to have continued to use signs that had at least some relevance to their trade. Abel Drugger was a "tobacco-man,"

_i.e._ a tobacco-seller in Ben Jonson's play of "The Alchemist," 1610, so that it is not very surprising to find the name used occasionally as a tobacconist's sign. Towards the end of the eighteenth century one Peter c.o.c.kburn traded as a tobacconist at the sign of the "Abel Drugger" in Fenchurch Street, and informed the public on the advertising papers in which he wrapped up his tobacco for customers that he had formerly been shopman at the Sir Roger de Coverley--a notice which has preserved the name of another tobacconist's sign borrowed from literature. Seventeenth--century London signs were the "Three Tobacco Pipes," "Two Tobacco Pipes" crossed, and "Five Tobacco Pipes." At Edinburgh in the eighteenth century there were tobacconists who used two pipes crossed, a roll of tobacco and two leaves over two crossed pipes, and a roll of tobacco and three leaves.

The older tobacconists were wont to a.s.sert, says Larwood, that the man in the moon could enjoy his pipe, hence "the 'Man in the Moon' is represented on some of the tobacconists' papers in the Banks Collection puffing like a steam engine, and underneath the words, 'Who'll smoake with ye Man in ye Moone?'" The Dutch, as every one knows, are great smokers, so a Dutchman has been a common figure on tobacconists' signs. In the eighteenth century a common device was three figures representing a Dutchman, a Scotchman and a sailor, explained by the accompanying rhyme:

_We three are engaged in one cause, I snuffs, I smokes, and I chaws!_

Larwood says that a tobacconist in the Kingsland Road had the three men on his sign, but with a different legend:

_This Indian weed is good indeed, Puff on, keep up the joke 'Tis the best, 'twill stand the test, Either to chew or smoke._

The bill bearing this sign is in Banks's Collection, 1750. Another in the same collection, with a similar meaning but of more elaborate design, shows the three men, the central figure having his hands in his pockets and in his mouth a pipe from which smoke is rolling. The man on the left advances towards this central figure holding out a pipe, above which is the legend "Voule vous de Rape." Above the middle man is "No dis been better." The third man, on the right, holds out, also towards the central figure, a tobacco-box, above which is the legend "Will you have a quid."

A frequent sign-device among dealers in snuff was the Crown and Rasp.

The oldest method of taking snuff, says Larwood, in the "History of Signboards," was "to sc.r.a.pe it with a rasp from the dry root of the tobacco plant; the powder was then placed on the back of the hand and so snuffed up; hence the name of _rape_ (rasped) for a kind of snuff, and the common tobacconist's sign of La Carotte d'or (the golden root) in France." _Rape_ became in English "rappee," familiar in snuff-taking days as the name for a coa.r.s.e kind of snuff made from the darker and ranker tobacco leaves. The list of prices and names given by Wimble, a snuff-seller, about 1740, and printed in Fairholt's "History of Tobacco," contains eighteen different kinds of rappee--English, best English, fine English, high-flavoured coa.r.s.e, low, scented, composite, &c. The rasps for obtaining this _rape_, continues Larwood, "were carried in the waistcoat pocket, and soon became articles of luxury, being carved in ivory and variously enriched. Some of them, in ivory and inlaid wood, may be seen at the Hotel Cluny in Paris, and an engraving of such an object occurs in 'Archaeologia,' vol. xiii. One of the first snuff-boxes was the so-called _rape_ or _grivoise_ box, at the back of which was a little s.p.a.ce for a piece of the root, whilst a small iron rasp was contained in the middle. When a pinch was wanted, the root was drawn a few times over the iron rasp, and so the snuff was produced and could be offered to a friend with much more grace than under the above-mentioned process with the pocket-grater."

The tobacconists' sign that for very many years was in most general use was the figure of a highlander, which may still perhaps be found in one or two places, but which was not at all an unusual sight in the streets of London and other towns some forty or fifty years ago. Most men of middle age can remember when the snuff-taking highlander was the usual ornament to the entrance of a tobacconist's shop; but all have disappeared from London streets save two--I say two on the authority of Mr. E.V. Lucas, who gives it (in his "Wanderer in London") as the number of the survivors; but only one is known to me.

This is the famous old wooden highlander which stood for more than a hundred years on guard at a tobacconist's shop in Tottenham Court Road. About the end of 1906 it was announced that the shop was to be demolished, and that the time-worn figure was for sale. The announcement created no small stir, and it was said that the offers for the highlander ran up to a surprising figure. He was bought ultimately by a neighbouring furnishing firm, and now stands on duty not far from his ancient post, though no pa.s.ser-by can help feeling the incongruity between the time-honoured emblem of the snuff-taker and his present surroundings of linoleum "and sich."

Where Mr. Lucas's second survivor may be is unknown to me. Not so many years ago a wooden highlander, as a tobacconist's sign, was a conspicuous figure in Knightsbridge, and there was another in the Westminster Bridge Road; but _tempus edax rerum_ has consumed them with all their brethren. In a few provincial towns a wooden highlander may still be found at the door of tobacco shops, but they are probably destined to early disappearance. In 1907 one still stood guard--a tall figure in full costume--outside a tobacconist's shop in Cheltenham, and may still be there. There is a highlander of oak in the costume of the Black Watch still standing, I believe, in the doorway of a tobacco shop at St. Heliers, Jersey. It is traditionally said to have been originally the figure-head of a war vessel which was wrecked on the Alderney coast. Another survivor may be seen at the door of a shop belonging to Messrs. Churchman, tobacco manufacturers, in Westgate Street, Ipswich. A correspondent of "Notes and Queries" describes it as a very fine specimen in excellent condition, and adds: "Mr. W.

Churchman informs me that it belonged to his grandfather, who established the business in Ipswich in 1790, and he believed it was quite 'a hundred' year old at that time."

One of the earliest known examples of these highlanders as tobacconists' signs is that which was placed at the door of a shop in Coventry Street which was opened in 1720 under the sign of "The Highlander, Thistle and Crown." This is said to have been a favourite place of resort of the Jacobites. In his "Nicotine and its Rariora,"

Mr. A.M. Broadley gives the card, dated 1765, of "William Kebb, at ye Highlander ye corner of Pall Mall, facing St. James's, Haymarket," and says that the highlander was a favourite tobacconist's sign for 200 years. I have been unable, however, to find evidence of such a prolonged period of favour. I know of no certain seventeenth-century reference to the highlander as a tobacconist's sign.

The figure was usually made with a snuff mull in his hand--the highlander being always credited with a great love and a great capacity for snuff-taking. But one curious example was furnished, not only with a mull but with a bat-like implement of unknown use. Mr.

Arthur Denman, F.S.A., writing in _Notes and Queries_, April 17, 1909, said: "I have a very neat little, genuine specimen of the old tobacconist's sign of a 42nd Highlander with his 'mull.' It is 3 ft.

6 in. high, and it differs from those usually met with in that under the left arm is an implement almost exactly like a cricket-bat. This bat has a gilt k.n.o.b to the handle, and on the shoulder of it are three chevrons in gold, without doubt a sergeant's stripes. On the exposed side of the bat is what would appear to represent a loose strip of wood. This strip is nearly one-third of the width of the instrument, and extends up the middle about two-fifths of the length of the body of it. I can only guess that the bat was, at some time, primarily, an emblem of a sergeant's office, and, secondarily, used for the infliction of chastis.e.m.e.nt on clumsy or disorderly recruits; and perhaps it was equivalent to the _Prugel_ of German armies, with which sergeants drove lagging warriors into the fray. But is there any record of such an accoutrement as being that of a sergeant in the British army? and what was the purpose of the loose strip, unless it was to cause the blow administered to resound as much as to hurt, as does the wand of Harlequin in a booth."

These questions received no answers from the learned correspondents of the most useful and omniscient of weekly papers. Personally, I much doubt Mr. Denman's suggested explanations of his highlander's curious implement. There is no evidence that a sergeant in the British army ever carried a cricket-bat-like implement either as a sign of office or to be used for disciplinary or punitive purposes like the canes of the German sergeants of long ago. It would seem to be more likely that this particular figure was of unusual, perhaps unique, make, and had some special local or individual significance, wherever or for whom it was first made and used, which has now been forgotten.

After the suppression of the Jacobite uprising of 1745, the English Government made war on Scottish nationality, and among other measures the wearing of the highland dress was forbidden by Parliament. On this occasion the following paragraph appeared in the newspapers of the time: "We hear that the dapper wooden Highlanders, who guard so heroically the doors of snuff-shops, intend to pet.i.tion the Legislature, in order that they may be excused from complying with the Act of Parliament with regard to their change of dress: alledging that they have ever been faithful subjects to his Majesty, having constantly supplied his Guards with a pinch out of their Mulls when they marched by them, and so far from engaging in any Rebellion, that they have never entertained a rebellious thought; whence they humbly hope that they shall not be put to the expense of buying new cloaths."

This is not a very humorous production, but at least it bears witness to the common occurrence in 1746 of the highlander's figure at the shops of snuff and tobacco-sellers.

The highlander, as he existed within living memory at many shop doors, and as he still exists at a few, was and is the survivor of many similar wooden figures as trade signs. The wooden figure of a negro or "Indian" with gilt loin-cloth and feathered head, has already been mentioned as an old tobacconist's sign. In early Georgian days a tobacconist named John Bowden, who dealt in all kinds of snuff, and also in "Aloe, Pigtail, and Wild Tobacco; with all sorts of perfumer's goods, wholesale and retail," traded at the sign of "The Highlander and Black Boy" in Threadneedle Street, London. At York, in this present year, 1914, I came upon a brightly painted wooden figure of Napoleon in full uniform and snuff-box in hand, standing at the door of a small tobacco-shop. Another cla.s.s of sign or emblem was represented by the "wooden midshipman," which many of us have seen in Leadenhall Street, and which d.i.c.kens made famous in "Dombey and Son."

Sometimes the wooden figure of a sailor stood outside public-houses with such signs as "The Jolly Sailor"; and a black doll was long a familiar token of the loathly shop kept by the tradesmen mysteriously known as Marine Store Dealers. Images of this kind sometimes stood at the door, or in many cases were placed on brackets or swung from the lintels.

Sir Walter Scott said that in London a Scotchman would walk half a mile farther to purchase his ounce of snuff where the sign of the Highlander announced a North Briton.

d.i.c.kens's little figure, which adorned old Sol Gills's shop, "thrust itself out above the pavement, right leg foremost," with shoe buckles and flapped waistcoat very much unlike the real thing, and "bore at its right eye the most offensively disproportionate piece of machinery." But this was only one of many "little timber midshipmen in obsolete naval uniforms, eternally employed outside the shop-doors of nautical instrument-makers in taking observations of the hackney-coaches." All have disappeared, together with the black dolls of the rag shops and many other old-time figures. A stray highlander or two, or other figure, may survive here and there; but with very few exceptions indeed, the once abundant tobacconists' signs have disappeared from our streets as completely as the emblems and tokens of other trades.