The Jacksons and the Lees: Volume I The Jacksons and the Lees: Two Generations of Massachusetts Merchants, 1765–1844, Volume I

A table showing the genealogy of the Jacksons, Tracys, Bromfields, and Quincys, with special reference to business. This chart is not a complete genealogy of the families represented and includes only those members who played a part, major or minor, in the business activities dealt with in the documents included in these volumes, or who serve as links between families or generations 6 A diagram showing the relations between American traders and the Bengal market about 1815. This chart does not purport to indicate all possible relationships in the Bengal market, but only some of the more important A diagram showing the types of careers of sedentary merchants in Massachusetts commerce. This chart does not purport to indicate all possible steps in the careers of sedentary Massachusetts merchants, but only some of the more customary and significant George Cabot's house, Beverly, from a negative in the possession of the Beverly Historical Society. George Cabot, brother-in-law and partner of Joseph Lee, Sr., built this house in 1774 and occupied it until 1793, when he removed to Brookline. The style of architecture is very similar to that of the Nathaniel Tracy house in Newburyport. It is still standing, though much changed from its appearance in the illustration The letter-of-marque ship Bethell, about 1745, from a painting in the Massachusetts Historical Society. This is the earliest known original painting of a colonial vessel; it represents two different views of the same ship. The ship Bethell, owned by Edward Jackson, Jonathan Jackson's father, his brothers-in-law, Edward and Josiah Quincy, and their English partner, Slingsby Bethell, won fame in 1748 by capturing, without resistance, a rich Spanish ship of greatly superior force Jonathan Jackson's mansion, High St., Newburyport, as it is today (1936), from a photograph by George E. Noyes. This house was built for Jonathan Jackson, 1772, and still stands, not greatly changed from its original appearance, a beautiful specimen of colonial architecture. Other representations of it have appeared in various places: as degraded by the eccentric "Lord" Timothy Dexter's barbarous notions of decoration during his ownership