Cigarette Products:

The Social History of Smoking

George Latimer Apperson

Chapter 10:

The fear of the odour of tobacco-smoke was extraordinary. Mr. J.C. Buckmaster in his reminiscences describes the famous debating society at Cogers' Hall, and says that "after one night at the Cogers' it took three days on a common to purify your clothes" from the smoke. The journalists and Bohemians who met at the Cogers were above (or below) the dictates of fashion, and smoking was always a feature of their gatherings. The "yard of clay" is provided gratis for members, and it is to its almost universal use, says Mr. Peter Rayleigh, in his book on "The Cogers and Fleet Street," "that Cogers owe their existence in the present quarters. Once upon a time the Cogers 'swarmed' to a well-appointed room, where carpets covered the floors, the chairs were upholstered, and the tables had finely polished marble tops. The hot pipes and smouldering matches stained the table tops and burnt the carpets, so that they had the option of abandoning either the pipe or the quarters. Old customs die hard with Cogers, and they stuck to their pipe.... The pipe is a feature in all illustrations of Cogerian meetings."

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The Social History of Smoking

George Latimer Apperson

Chapter 15:

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 association 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, pawnbrokers 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 association 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 illustration 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."

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