Deborah Cohen’s “household gods” are not a reference to a specific mythological pantheon, but rather a scholarly concept she explores in her 2020 book, Household Gods: The British and Their Possessions. The book examines how British Protestants, despite their theological rejection of religious idols, developed a deep emotional and moral attachment to their domestic possessions between 1650 and 1850. Cohen argues that these everyday objects—furniture, china, linens—functioned as a secular equivalent of household gods, shaping identity, morality, and social relations.
Who Is Deborah Cohen?
Deborah Cohen is a historian and professor at Northwestern University, specializing in modern Britain and Europe. She has written extensively on cultural history, including Family Secrets: Shame and Privacy in Modern Britain (2013). In Household Gods, she shifts focus from public life to the intimate sphere of the home, using a wide range of sources—diaries, letters, advice manuals, and material culture—to trace how Britons’ relationship with their belongings evolved over two centuries.
What Does “Household Gods” Mean in This Context?
The term “household gods” originally referred to the Lares and Penates of ancient Roman religion—small statues or shrines dedicated to ancestral spirits and protectors of the household. Cohen deliberately borrows this classical concept as a metaphor. In her book, she argues that British Protestants, who had stripped their churches of idols during the Reformation, nonetheless created a new kind of domestic idolatry. Possessions were not worshipped in a religious sense, but they were invested with moral and emotional significance. A well-kept home became a sign of virtue, and objects were seen as capable of shaping character.
How Did the Concept Develop Historically?
Cohen traces the shift from a 17th-century culture where possessions were sparse and utilitarian to a 19th-century world of mass production and consumer abundance. Key developments include:
- The rise of the middling classes—as trade and industry grew, families had more disposable income to spend on household goods.
- The influence of Evangelicalism—religious revival movements emphasized domestic piety, making the home a moral arena where orderliness and cleanliness were spiritual duties.
- Advances in manufacturing—techniques like Wedgwood’s pottery and mass-produced textiles made decorative items affordable to a wider population.
- The expansion of credit—buying on installment plans allowed families to furnish homes beyond their immediate means, creating a new relationship with debt and ownership.
By the Victorian era, the home was a showcase of respectability, and the objects within it were thought to reflect—and even influence—the character of its inhabitants.
What Are the Core Arguments of the Book?
Cohen challenges the common assumption that consumerism is a purely modern, secular phenomenon. She argues that British Protestantism, far from opposing material goods, actually fueled a culture of possession. Key arguments include:
- Possessions as moral agents—objects were not passive; they were believed to teach thrift, order, and self-discipline.
- The home as a stage—domestic spaces were arranged to display taste and virtue, especially to visitors, making the household a site of social performance.
- The paradox of idolatry—while Protestants condemned religious images, they embraced secular ones, creating a tension between spiritual values and material desires.
- The role of women—women were primarily responsible for managing the household and its goods, making them central to this new material culture.
How Does This Relate to Mythology?
Although Cohen’s work is historical, it touches on mythological themes. The Roman household gods were protective spirits, and Cohen suggests that British possessions took on a similar protective and identity-giving role. For example, a family’s heirloom silver or a carefully chosen set of china could serve as a marker of lineage and respectability, much like ancestral shrines did in ancient Rome. However, Cohen is careful to note that this is an analogy, not a claim of direct religious continuity.
Common Misconceptions
One common misconception is that Cohen argues Britons literally worshipped their furniture. This is not the case. She uses “household gods” as a rhetorical device to highlight the quasi-religious reverence attached to domestic objects. Another misconception is that the book covers all of British history; in fact, it focuses on a specific period (1650–1850) and primarily on Protestant, middle-class households. It does not claim to represent Catholic or working-class experiences, though it does touch on them.
Frequently Asked Questions
Is Household Gods a book about Roman mythology?
No. The title is a metaphor. The book is a cultural history of British material life, using the Roman concept to explore how possessions became emotionally and morally significant.
Does Cohen argue that consumerism is a religion?
Not literally. She argues that consumerism in this period was shaped by religious values, particularly Protestant ethics, but she does not claim it replaced religion.
What types of sources does Cohen use?
She draws on diaries, letters, household inventories, advice manuals, novels, and visual sources like paintings and advertisements. These help reconstruct both the physical objects and the meanings people attached to them.
Why is this book relevant today?
It offers a historical perspective on modern consumer culture, showing that our attachments to things are not new and are often tied to deeper moral and social concerns. It also raises questions about sustainability and the emotional costs of mass consumption.
Are there similar books on other countries?
Yes, scholars have explored comparable themes in American, French, and German contexts. For example, Leora Auslander’s Taste and Power looks at furniture and identity in France and Germany, offering a comparative view.
Conclusion
Deborah Cohen’s Household Gods is a rich, nuanced study that reinterprets the relationship between people and their possessions. By invoking the ancient concept of household gods, she illuminates how ordinary objects came to carry extraordinary weight in British life. Whether you’re interested in history, consumer culture, or the psychology of ownership, the book offers a compelling lens on why we surround ourselves with things—and what those things say about us.
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