[Illustration: (the five orders of periwigs)]
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"In about seventeen years[210] will be completed, in six volumes
folio, price fifteen guineas, _The Exact Measurements of the
Periwigs of the Ancients_; taken from the Statues, Bustos, and
Basso Relievos of Athens, Palmyra, Balbec, and Rome; by Modesto,
Periwig-meter, from Lagado. _N.B._--None will be sold but to
Subscribers.--Published as the Act directs, Oct. 15, 1761, by W.
Hogarth."
Previous to this print being published, Mr. Stuart, generally
denominated Athenian Stuart, advertised that he intended to publish
by subscription a book, entitled _The Antiquities of Athens_,
measured and delineated by himself and Nicholas Revitt, painters
and architects.[211] The first volume of this excellent work
was published in 1762; it received, and we may add it deserved,
approbation from every man who had taste enough to relish those
stupendous monuments of ancient art, which the barbarians who now
possess the country either destroy or suffer to moulder into dust.
"To leave a trace behind" was the object of Stuart's book; but
Hogarth had so long accustomed himself to laugh at the grand gusto of
the Grecian school, that I can readily suppose he at length thought
any plan which might damp the public ardour for antiquity would be a
correction of national taste.[212] With this view he published the
print now under consideration; and if ridicule were a test of truth,
it must have effected his purpose. Minute accuracy is the leading
feature of Stuart's book; minute accuracy is the leading point in
Hogarth's satire.
Under the shadowy umbrage of his remarkable wigs he has introduced
several remarkable characters.
Two profiles in the upper row, under the title "Episcopal," or
"Parsonic," are said to be intended for Doctor Warburton, late Bishop
of Gloucester, and Doctor Samuel Squire, then Bishop of St. David's.
The next row is inscribed "Old Peerian," or "Aldermanic;" the first
face, in every sense _full_, is said to be meant for Lord Melcombe;
but considering the class he is placed in, may as well represent some
sagacious alderman of the day. At the opposite end of the same line
is that remarkable winged periwig, worn by Sir Samuel Fludyer, Lord
Mayor of London, at the coronation.
A row beneath is made up of the "Lexonic," and under it is the
"Composite," or half-natural, and the "Queerinthian," or Queue de
Renard. Even with them is a barber's block, crowned with a pair
of compasses, and marked "Athenian measure." This I believe was
intended as a caricature of Mr. Stuart, and considered as such is an
overcharged resemblance. Above the block is a table of references,
and facing it a scale, divided into nodules, or noddles; nasos,
or noses; and minutes. To enter fully into the spirit of this
whimsical print, the spectator must be acquainted with the terms of
architecture.
At the bottom is a portrait of her Majesty, distinguished by the
simplicity of her head-dress, and five right honourable ladies,
whose different ranks are pointed out by their coronets, and who
all wear the _tryglyph membretta_ drop, or neck-lock. Those who
knew their persons will find no difficulty in ascertaining their
respective titles. The bed-chamber ladies in 1761 were--Duchess of
Ancaster, Duchess of Hamilton, Countess of Effingham, Countess of
Northumberland, Viscountess Weymouth, Viscountess Bolingbroke.[213]
About the centre of the print is the following inscription:--
"Lest the beauty of these capitals should chiefly depend as usual on
the delicacy of the engraving, the author hath etched them with his
own hand."
They are etched with spirit, and in spelling--incorrect as can be
desired by Mr. Hogarth's greatest enemy. The word Advertisement is,
in latter impressions, corrected by an _e_ being inserted on the
Countess of Northumberland's left shoulder.