CHAPTER I.
Although much time and attention are usually bestowed in dressing and ornamenting the hair, in compliance with the dictates of fashion, but little regard is paid to the natural beauty of the hair itself, as contributing to the expression and comeliness of the features. The absurdities and caprices of fashion have been constant themes for ridicule and declamation with the wits of all ages. The sharp epigrams of Martial, the satires of Juvenal, the anathemas of the Romish ecclesiastics, the invectives of sour Puritans, the coarse raillery of Swift, and the good humour of Addison, have all in turn been levelled against some prevailing folly of the day. It is not our intention, however, to act the part of censor, but, as humble chroniclers, to note the change from one fashion to another.
Before entering on the task we will say a few words about the hair, in relation to art, a subject of some interest, and which we believe has not been sufficiently insisted on. The hair is, undoubtedly, the chief ornament of the head; we naturally associate the idea of vigour, fertility, and gracefulness, with its growth. Its flowing outline gives grace and freedom to the symmetry of the features, and by a little license of the artist’s hand, its form may be made to correct whatever harshness of character the countenance may chance to have acquired. In the colour, too, and texture of the hair, what facilities are afforded for heightening the charm of the most delicate complexion, or the dignity of the manly brow. The poets have universally recognised the truth of these principles, and in their descriptions of ideal beauty we invariably find some allusion to the hair.
Milton delights to adorn the human countenance with long hair, flowing in rich profusion. Of Eve he sings:
“She, as a veil, down to the slender waist
Her unadorned golden tresses wore
Dishevelled, but in wanton ringlets waved
As the vine curls her tendrils,——”
and to Adam he gives
“Hyacinthine locks