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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:—