Of Wigs in General, and some Historical remarks thereon—On Taking an
Order for a Wig or Scalp—Means adopted for securing them to the
Head—Directions for Measurement—On Mounting and Making a
Scalp—“Pen-knife” and Metallic Springs—A Scalp described with
Parting and Crown—Scalps with Gauze, Net, and Human Hair
Foundations.
Of wigs in general how much could be written! They are almost “as old as
the hills,” and perhaps amongst the ancient Egyptians might be found the
earliest makers of the periwig, or peruke. Indeed, in the British Museum
can be seen a wig from the Temple of Isis that was made two or three
thousand years ago; the curl and material of which it is made being well
preserved. Probably the custom of shaving the heads of the people (for
all had to submit to it), led to the introduction of wigs, and, as
Wilkinson says, “it may appear singular that so warm a covering to the
head should have been adopted in the climate of Egypt; but we must
remember the reticulated nature of the ground-work, on which the hair
was fastened, allowed the heat of the head to escape, while the hair
effectually protected it from the sun: it is evident that no better
covering could have been devised, and that it far surpassed, in comfort
and coolness, the modern turban.” According to Stow, the periwig was
first brought into England about the time of the massacre of St.
Bartholomew (1572), but the peruke is mentioned in a wardrobe account in
the time of Edward VI. About 1595, wigs “had become so much the fashion
that it was dangerous for children to wander out of sight of their
parents or attendants, as it was a common practice to entice them into
some private place and deprive them of their hair for the manufacture of
such articles.”—_Planche._ During the reign of Charles II. the large
wigs (such as are shown in Kneller’s portrait of the Duke of
Marlborough) were introduced, and continued to increase in size till the
middle of last century. Concerning prices, the following is
interesting:—“Perukes,” says Malcolm, “were an highly important article
in 1734. Those of right gray human hair were four guineas each; light
grizzle ties, three guineas; and other colours in proportion, to
twenty-five shillings. Right gray human hair perukes, from two guineas
to fifteen shillings each, which was the price for dark ones; and right
gray bob perukes, two guineas and a-half to fifteen shillings, the price
of dark bobs. Those mixed with horsehair were much lower. It will be
observed, from the gradations in price, that real gray hair was most in
fashion, and dark of no estimation.”
The names of wigs, as may be judged from the foregoing, possess deep
interest for the trade, and it is therefore worth while to allude to
them. In the reign of Queen Anne, in addition to very long and formally
curled perukes, are mentioned “black riding wigs,” “bag wigs,” and
“nightcap wigs.” The famous battle of Ramilies, in the same reign
introduced the “Ramilie wig,” with a long gradually diminishing plaited
tail, called the “Ramilie tail,” which was tied with a great bow at the
top and a smaller one at the bottom. In the reign of George II., the
“tye-wig” and the “pigtail-wig” have to be added to the catalogue, and
at the same time the revival of the “bob-wig,” first heard of in 1684,
or one that is called after it, is also spoken of. The “bob-wig” is thus
described:—“I cut off my hair and procured a brown bob periwig of
Wilding of the same colour, with a single row of curls just round the
bottom, which I wore very nicely combed and without powder.” Indeed,
“the nomenclature of wigs is very ample,” says an authority on the
subject, “a complete system of classification might be adopted, and
genus and species discriminated with the greatest nicety: there were
Wigs Military, Legal, Ecclesiastical, and Infantile,” room being found
only for a few varieties, viz.:—
Perruque à bonnet.
Perruque à trois marteaux.
Perruque à nœuds.
Perruque ronde.
Perruque pointue.
Perruque naissante.
Perruque à deux queues.
Perruque à tonsure.
Perruque à la brigadière.
Perruque de l’Abbé.
Perruque à boudin.
Perruque à papillons.
Perruque à deux marteaux.
Perruque à bourse.
Wigs were first worn by barristers about 1670, to which opposition was
made by the judges, and some of the leaders were not allowed to plead in
their new head-gear. In the time of James II. wigs increased in size,
becoming still larger in the following reign (William III.), when wigs
were adopted by all classes, but among those of humble station they were
moderate in size and price. Gentlemen’s wigs, however, were large and
full, requiring much hair in their manufacture. It is recorded that in
1700 a sum of £60 was given for a country girl’s hair, and that the grey
hair of an old woman deceased sold for nearly as much—the ordinary price
of a first-class wig being at that time forty pounds. Full-bottomed wigs
were invented, it is said, by Duviller, for the purpose of hiding some
natural defect in the shoulders of the Dauphin. Children wore wigs, or
the natural hair was curled to look like them. Archbishop Tillotson was
the first of our prelates who wore a wig. Steele’s wig cost as much as
forty guineas. Dean Swift had a fine wig for state occasions, and
“Colley Cibber’s wig, in which he played a favourite character, was of
such noble proportions that it was brought upon the stage in a sedan by
two chairmen.” The tie-wig (the long-curled wig abridged) was not
considered court dress.
“How to wear a wig,” says the author of “Trichocosmos,” “was part of the
education of a man of the world, not to be learned from books. Those who
know what witchcraft there is in handling a fan, what dexterity in the
‘nice conduct of a clouded cane,’ will imagine the wits and gentlemen of
old did not suffer the wig to overshadow their temples with perpetual
gloom, like the wreath of smoke which overhangs our Modern Babylon. And
many a country squire must have tried in vain to catch the right toss of
the head; to sport a playful humour in those crisp curls; or to acquire
the lofty carriage of the foretop, or the significant trifling with some
obtrusive lock; and felt as awkward in his new wig as a tailor on
horseback, or a fat alderman with a dress sword dangling between his
legs.”
Natural coloured wigs were worn till about 1714, when it became
fashionable to adopt bleached hair, which soon faded, then wigs were
powdered. It is said that wigs of peculiar excellence cost as much as
£140 each, and it is on record that “a petition from the master
peruke-makers of London and Westminster, presented to the king (George
III.) in 1763, points out the great decline of their use to have taken
place at that time.” In this memorial they complain of the public
wearing their own hair, and say, “That this mode, pernicious enough in
itself to their trade, is rendered excessively more so, by swarms of
French hairdressers already established in those cities, and daily
increasing.”
Theatrical wigs will supply many capital illustrations of those that
were worn by notable personages in former years, and a ramble through
the National Gallery, Hampton Court Palace, and other public as well as
private picture galleries will be found highly instructive to wig-makers
of the present day. The chief art now consists in making wigs so closely
to imitate Nature as to defy detection, and those who succeed in doing
so may well be classed among the most talented men in the profession.
Wigs and scalps will always be worn, and probably there is a good trade
to be done in such manufactures now, but great attention to every detail
is necessary so as to withstand the keen glance of scrutiny.
I will now apply myself to the task before me, but consider that a few
general observations are necessary and important before entering into
the technicalities of the art.
When taking an order for a lady’s or gentleman’s wig, observe the shape
of the head, cast of countenance, and age of the person who intends
wearing it. Note whether the head is long, broad, or high, as a correct
shape ought to be maintained by the wig-maker, who, in this and other
respects, should be an artist. Observe also whether the face is long,
round, or oval, because the arrangement of the hair on the forehead and
sides of the head has much to do in presenting a good appearance. If
this passes observation and comment, the result may be considered
satisfactory; but should there be “a something” objectionable which
causes remark, find out what it is, or where the fault lies, and either
remove or alter it if possible. Again, notice the countenance; do not
put in contrast to an aged face hair that is only suitable to youth. Let
the hair be consistent both in colour and quantity with the age of the
wearer, and, above all, endeavour to avoid anything extravagant or out
of place. A gentleman’s wig must be cut and trimmed after it is made, to
adapt it to the style and taste of the wearer; it ought to fit easily in
every part; and where springs are, no undue pressure should be allowed
to exist. While the general appearance has to be well considered, the
comfort of the wearer must always be kept in view.
The reader is, doubtless, fully aware that baldness is not confined to
age, for some men lose their hair early in life. You may, without much
trouble, find a bald-headed man at thirty, and it is perhaps as easy to
discover a man at sixty with a fairly good head of hair. All classes are
likely to be more or less troubled with baldness, for it makes its mark
in a variety of ways. Sometimes the hair recedes from the brow, giving
the appearance of a very high forehead, at other times it only attacks
the crown. Then, again, the whole of the top part of the head is left
bare, which not unfrequently extends to the occiput behind. A partial
baldness requires merely a scalp which may, according to the
circumstances of the case, be either large or small, but when the
baldness is extensive, a wig will be found the most convenient and
suitable head-covering. Scalps are consequently made in a variety of
shapes and sizes; the mountings are equally variable, and the method
adopted for holding them firmly in position admits of great ingenuity.
Some scalps are mounted with galloon, net, and springs; others have a
metallic-spring attachment, which sensibly, though not uncomfortably,
grips the head, while another mode of fastening is by means of “penknife
springs” or clasps.[19] (These open as the name indicates, and being
closed, a small portion of the growing hair is shut in or clasped at the
same time.) Some scalps, when made for the top of the head and crown
have, in addition, a strip of galloon, which, being covered with hair,
easily adapts itself to the lower part of the back of the head. By an
arrangement of this character a scalp cannot possibly go forward on to
the forehead of the wearer. Scalps when made very light and delicate,
and intended for a small-sized patch upon the upper portion of the head,
and sometimes the crown, are fixed only with gum, a gummy substance sold
for the purpose, or diachylon. This gossamer-like scalp admits of very
superior work (knotted), while the mounting, if required, should be of
the lightest possible description. Where strength and durability are
concerned, probably nothing can be better than a well-sewn, woven scalp
or wig; but when art steps in to closely imitate nature, and attempts to
defy the keen glance of scrutiny, then both single and double knotting
are brought into requisition. This presents a more natural appearance,
of course, and though the cost is increased, the work is not so lasting.
In wig and scalp making there is plenty of scope for ability, ingenuity,
and taste, for to insure success very much is left to the judgment of
the maker, and to the carefulness and discretion of the wearer, so as to
prevent his “secret” being discovered. I will give some working
directions, with suitable illustrations, as I proceed, but for the
present I am chiefly concerned in impressing certain leading points or
features upon the mind of the learner, as success will greatly depend
upon strict attention to minute details.
Of course, careful measurement is all important, for no matter how well
the work may be done, if it proves to be a misfit, disappointment and
annoyance, to say the least, will surely be felt by the parties
concerned. Besides, a mistake of this kind is likely to prejudice the
mind of the customer, and another article (however well-made) might not,
perhaps, be received with favour; therefore, be exact. I wish now to
direct attention to the illustration which appears on the next page and
to the following directions for measurement.
No. 1.—With a tape measure ascertain the circumference of the head.
No. 2.—Measure from the centre of the forehead (where the hair _should_
be) to the nape of the neck.
No. 3.—Ascertain the distance from ear to ear across the forehead (see
the lower dotted line).
No. 4.—Measure from ear to ear over the top (or highest) part of the
head.
No. 5.—Note how many inches it is from temple to temple, round the back
of the head.
[Illustration: Fig. 33.]
These directions are simple enough and only require careful attention;
be very exact in writing down the figures, and observe the formation of
the head. Of course, all these measurements are not wanted for a scalp
(some scalps at all events), but the different kinds of work are so
intimately associated that it is difficult to make any very marked
distinction here upon the subject. Besides using a tape measure, it will
be as well to cut out a paper pattern for a scalp. An expert might say
there is no necessity for doing both, but I am not addressing myself to
the advanced men in the trade, who do not stand in need of assistance
from me. I direct my remarks more particularly to apprentices,
improvers, and to beginners in general. To them I say—you cannot be too
particular, therefore do not spare yourself a little extra trouble, as
you may probably reap advantage from it before the job is finished. A
paper pattern for a scalp comes in very useful at times, more especially
when there are some intricacies to be noted. It need not be exactly a
pattern, but still it should unmistakably show the outline of the patch
which is to be covered. Having taken the dimensions, then, the next
thing is to cut off a piece of hair for the colour. Your customer should
be advised to wear his hair a convenient length for the purpose in view,
(say) from two and a-half to three and a-half inches long. Fashion, of
course, has much to do with the length of men’s hair, but you cannot
make a wig or scalp with hair so preposterously short as is worn by many
at the present time—that is out of the question. The real hair as well
as the “false” should be sufficiently long to allow of one combining
with the other. There ought not to be any division, and the length of
the hair must, as a consequence, be taken into consideration. Whether a
crown is to be put in, or a crown and parting, should next engage
attention; also, whether the parting is to be in the centre, on the
right, or left side; if it is to be skin or transparent; and what kind
of foundation. These preliminaries being arranged, I will proceed with
the making of a scalp.
The scalp you are to make is without a patent parting, but with a crown
either of silk or skin. If any parting is to be made on this scalp, it
should not be clearly defined, but whether it be formed with weft or
“knotted,” the hair ought to be set closer than it is elsewhere. This,
however, will be alluded to later on. Should a rather narrow scalp be
all that is required, and the wearer’s hair thick enough, a parting
could well be made upon the head, some of the natural hair being trained
to comb over and allowed to mingle with the hair of the scalp. Nothing
could be better than an arrangement of this kind, where it is possible
to adopt it. Attention must also be paid to the “set” of the hair upon
the brow; if allowed to remain in slight disorder perhaps that would be
the better way to wear it. At all events, a “wiggy” and cloudy aspect
should be avoided.
[Illustration: Fig. 34.]
The mount represented above is, as I before stated, for a scalp with a
crown, but without a patent parting. In reference to mounting, detailed
instructions have frequently been given, which I need not here repeat.
Take a clean, smooth, mounting block, and with a blacklead pencil
carefully mark the size and form of the work taken in hand. Having done
this, commence at the back by tacking on the galloon (which should be a
little wider than that ordinarily used for fronts, bands, &c.), and with
it follow the line marked until the ends meet. Arrange this so as to
have half an inch or more to spare at both of the ends. Of course, in
following the pencil marks with the galloon, you have found it necessary
to use points so as to keep the shape, drawing the galloon at the same
time moderately tight. You are now to hold the free ends between the
thumb and finger of the left hand close down upon the block, while you
stitch them through and through, so that when done they may be close and
firm. Open the ends, gently hammer the sewn part, and take a few
stitches to keep the ends in place. You are now to baste where it has
just been sewn, observing to maintain an even roundness so as to fit
nicely at the back of the head. Come now to the front and form the peak
upon the forehead, but it should be more rounded and less pointed than
is indicated in the engraving.[20] The sides are to be basted out as
shown, and to impart a graceful curve, points are to be driven into the
centre of the block and the galloon drawn inward as required. I will now
assume that the outline of the scalp is formed; the galloon moderately
tight and firmly held in place—and that it is ready for other matters to
be proceeded with. Sew a piece of galloon from temple to temple; affix
another piece at the sides (across the top) and then connect the front
and back together. A glance at the illustration shows clearly what is to
be done.[21] Springs are now to be attached, and for this purpose take a
piece of watch-spring sufficiently long to reach from the forehead
nearly to the crown, or quite to the edge of the crown if considered
necessary. Two other springs are to be prepared extending from the side
angles to join the centre one. At this point they are not to overlap,
but must fit evenly and flat. Here, again, a reference to the engraving
will indicate my meaning. It may be necessary to put two springs at the
back also, especially if the scalp be rather large, otherwise, the
patent crown might be found sufficient. The springs are to be somewhat
flattened, so as to fit the mount exactly, for unless this be attended
to, the scalp will not lie upon the head as it should do. They must now
be filed or ground off at the ends, and tipped with kid, thin leather,
or parchment, the whole neatly covered with galloon, and then sewn in
their proper places. The next thing is to put on some silk net,
carefully sewing it all round the inner margin of the scalp. Cut off,
leaving an edge which must not extend beyond the outer line of the
galloon. Fix this in place by means of the “herring-bone” stitch, and
sew the net to all the other edges of the galloon and springs. I may
observe that it is intended to cover this mount with weft, but were it
to be “knotted,” the edges of the net should be left rather long, then
turned in, and firmly sewn to the outer line as previously instructed.
“Pen-knife” springs should now be attached.
[Illustration: Fig. 35.]
They are, as before stated, made to open, and upon being closed, a small
portion of the natural hair is shut in with what might be termed the
blade. Here is the representation of a “penknife” spring (open), and it
is drawn the exact size.
The scalp now in course of manufacture would require three or four of
these fastenings, namely, one on each side towards the front, and one or
two at the back in convenient situations.
Observe that these springs are intended to lie as flat as possible,
being made with a slight concavity, which should go next the head. They
must, consequently, be arranged as “rights” and “lefts.” Take a piece of
galloon the width of the spring (that which is used for the mount will
probably answer the purpose), turn in the ends, and sew over and over
right round, _except_ where the blade shuts in. In order that you may
properly secure the covering, notice three small holes in the spring,
through which stitches should be made. These details having been
attended to, the springs are to be attached to the mount, and, I need
scarcely say, they ought to be secure.
The hair is now to be put on, and the weft I presume is ready. Correct
judgment, together with the requirements of the work, should, to a
certain extent at least, guide you. As the rows of weft are arranged, so
the hair will “set,” and this should always be borne in mind. A properly
made and well-dressed gentleman’s wig is a “study,” from which much is
to be learnt, and young men in the trade should never allow such
ingenious productions to pass unnoticed. Of the “cutting and dressing a
gentleman’s wig” I shall speak presently, and merely allude to it here
for the purpose of showing the importance which attaches to a proper
arrangement of hair in the first instance, whether it be woven or
“knotted.” Remember, as a rule, that in gentlemen’s wig-making the hair
should always be dressed to the face, but this effect cannot be produced
without careful attention to the rows of weft, or “knots.” However, in
this instance suppose you adopt the following plan. Commence sewing on
the weft at the back, at the lower edge of the galloon, and continue it
all round; go round again, sewing the weft moderately close to the first
row. It is important that these should be well and neatly put on.
Continue sewing till you come to one of the angular places which is to
be filled up, bearing in mind the preceding observations. Then pass on
(without cutting the weft) to another and another, till all the corners
are disposed of. If this be judiciously executed, you will then have a
“clear field” to work upon, and may go on sewing the weft round and
round until you approach the crown, when the rows must be a little
closer together. While there is yet plenty of room, take the crown (silk
or skin I am supposing it to be), sew the edges, as is done when putting
in a patent parting, and fix neatly, yet firmly, in its proper position.
Then go on with the weft, and finish off _upon_ the crown, close to the
hair.
Having done with the needle, the work is now to be pressed (and some of
these observations apply to wig-making in general), about which you must
needs be careful. The hair employed in this description of manufacture
(short crop hair) is specially curled for the purpose, and in making
gentlemen’s wigs, hair of two, three, and sometimes four different
lengths is used, so as to avoid cutting, if possible. It stands to
reason that the hair put at the top of a wig or scalp should be longer
than that in the neck, while at the sides the hair required is probably
of a length something between the two. Therefore, when purchasing the
hair, calculate the length before-hand, or, should it be in stock, cut
it off at the roots before weaving or “knotting,” if it is found
necessary to do so. In pressing and dressing this scalp, I will assume
that merely the points of the lower hair are to be removed, therefore
push back with a comb the same as though you were about cutting a lady’s
hair, and remove the ends _with a sharp razor_. Even this must be done
in a particular manner, and is to be produced by a kind of sliding
motion. Let me tell you the object which is to be attained, that you may
the more readily understand what and how to do it. The natural ends of
hair are finer and more pointed than they would be if cut. They curl and
combine more readily if left in their normal condition, with which
ordinary cutting is likely to interfere: therefore the employment of a
razor is to make the points resemble the original as near as possible.
Pressing, you can now perceive, is equally important, and should be done
first. You must press the work, but not the hair—that is, the curl; for
if you do that, the job will be spoilt before it leaves your hands,
that’s all! Therefore, press carefully; incline each section of the hair
as it leaves your fingers to take up its proper position; do not injure
the curl in the least, and endeavour to impart to it a natural and
becoming appearance.
Another way of fixing the scalp is by means of a metallic spring (see
Fig. 36), and it can easily be adapted to the purpose. The galloon which
passes across the top could either be dispensed with, or arranged so
that the spring, when covered, passes along unseen. The front of it
could easily be made to come forward, while the corner springs (either
front or back) must be reduced, or otherwise designed so as to keep the
scalp well in shape.
[Illustration: Fig. 36.]
These springs, I may observe, are made to go across the top of the head,
while others are constructed to go at the back, just below the bind of
the hat. It is of the former description that I now speak. For making
either a scalp or wig with a metallic spring it is best to keep some of
these springs in stock, and when taking an order try them on, so as to
get one that will be easy and comfortable. Heads vary in size, so do the
springs; therefore, this mode of fitting a spring is essential. That
part which extends from front to back is movable, and can be readily
adjusted, while the behind part may be broken off at pleasure, the end,
of course, being filed and covered in the usual way. With these
preliminaries arranged, take a long piece of galloon, fasten on to a
given point (say the front), and wrap round to the end, firm, smooth,
and regular, holding the spring at the same time in the left hand; the
upper edge of the galloon which is on the spring being covered with the
lower edge of that which is free. Continue this from one end to the
other and sew firmly. Now do the side-spring in the same way; cover
neatly the centre at the top of the head, and sew wherever necessary. Of
course, the spring will by this arrangement project at the sides, and
extend down towards the ears. All this part, then, must be covered with
weft, the hair well “set,” pressed forward, and made to combine with the
natural side hair of the wearer.
The mounting already shown is capable of numerous modifications, but the
general directions remain the same. The form may be enlarged or
diminished, it can be oval-shaped or round (or three-cornered if needs
be), nevertheless, all the details must be carefully attended to if good
workmanship be desired.
Baldness is not particular to age, neither does it assume any definite
form; it varies upon different individuals. As a consequence the size
and shape of scalps vary considerably, and the class of work is
regulated not unfrequently by the purse. These deviations from any fixed
rule, therefore, afford ample scope for the display of ingenuity and
taste on the part of the boardsman; and to be a good wig-maker is a
strong recommendation to first-class situations. Clever workmen, as I
have stated before, do not stand in need of instruction, and were I to
offer it some offence might reasonably be taken; but with apprentices
and improvers, as well as those in business whose experience in the
wig-maker’s art is limited, the case is altered, and if I can be the
means of helping them my task will not have been undertaken in vain.
To manufacture a scalp of a like description but with a silk or skin
parting and crown inserted, proceed as follows:—Mark the outline of the
mount upon a clean block and put on the galloon as before. Note the
width and length of the parting, which should always be placed on the
left side except when ordered otherwise, and arrange so that the centre
of the crown will fall into its proper place. Having basted the galloon
which marks the shape or outline of the scalp, you can then attach the
piece which extends from front to back, and a cross piece right in
front, if necessary (see illustration).[22] Notice the width of the
parting, and in regard to this portion of the work, deal with the mount
as instructed in mounting a front, paying great attention to the edge
where it joins the forehead. About this you cannot be too particular.
Now take the galloon and drive a point in the end of it, near to one of
the basting-stitches, and conduct it upwards towards the crown; form the
outline of the crown with it, and return to the fellow basting-stitch
where it is to be cut off. I will now assume that you have the exact
form of the parting and crown, the galloon being held in position by
means of points driven into it at intervals. Sew the ends in their
places, and baste the galloon, making a neat circle at the crown. Here
the galloon will become puckered; the puckers are to be pinched
together, sewn through and through, and made to lie as flat as possible.
Having done all this, what, let me ask (in order that I may be clearly
understood), is the object in view? It is to impart neatness to the
work, and to conceal the margins of the parting and crown; it renders
the scalp more durable, and when off the block the edges of the parting,
&c., are neatly concealed.
The net and springs are to be put on, then the hair, and all finished
off in a proper manner. Scalps of this description can be held in their
places by means of a cement made and sold for the purpose (to which I
shall presently allude), but I cannot help thinking that, after all,
springs are preferable.
A better class of work is done upon gauze, and the best of all is made
upon human hair foundations. Other materials for the purpose, of an
inferior description, are used, to which I need not here refer, as the
two kinds named are sufficient for my purpose. The gauze is very fine in
texture, and can be mounted with galloon or not, just as it may be
considered necessary. Of course, galloon affords additional strength to
the article, and if lightness be not the chief requisition, I should say
that gauze scalps were more durable when mounted. Here is an outline of
one:—
[Illustration: Fig. 37.]
It will be seen that there is galloon all round, and to the parting and
crown also. A mount of this character can be designed by omitting the
latter altogether; it can be made with a crown only, or, with a parting
in addition, as shown in the diagram,[23] but in that case, the piece of
galloon which now marks a separation between the crown and parting
should be omitted. This, of course, could easily be managed by putting
on the galloon in the way just previously mentioned. A scalp of this
kind can be mounted with white, drab, or other coloured galloon; it
might be knotted either on gauze or net, with a human hair foundation
parting and crown inserted. Indeed, the variations made in this
description of manufacture are of a multifarious character, as may
readily be perceived. The mode of attaching these scalps to the head of
the wearer is by means of diachylon, or, what is better, the Pomade
Toulouse, an adhesive substance easily softened by heat, or else
“wafers,” which are made sticky by a little moisture, and used as
desired by the wearer.
Scalps with entire Human Hair Foundations cannot be excelled for
lightness and a natural appearance. They are made of any size and
pattern, with perfectly secured edges, so that no galloon or springs are
necessary. They only require to be well and properly attached to the
block by means of basting-stitches, and carefully—I might say
artistically—knotted all over, the crown, or crown and parting, being
done as the work progresses. Some exquisite pieces of workmanship are
executed in this line by expert hands, their productions being well
qualified to receive the name of “zephyr” which has been given to them
by certain manufacturers. The mode of attachment is the same as that
mentioned above, by means of cement or gum.