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The Five Orders of Periwigs (The Five Orde … The Five Orders of Periwigs (The Five Orders of Perriwigs as they were Worn at the Late Coronation Measured Architectonically) is a 1761 engraving by William Hogarth. It contains several levels of satire. First, and most clearly, it lampoons the fashion for outlandish wigs in the mid to late 18th century. Second, in classifying the wigs into "orders", it satirises the formulation of canons of beauty from the analysis of surviving pieces of classical architecture and sculpture from ancient Greece and ancient Rome, particularly the classical remains at Athens, Rome, Baalbek, and Palmyra, and the precise architectural drawings of James "Athenian" Stuart (published in the Antiquities of Athens, the first volume of which appeared in 1762). To the lower right, the engraving gives its publication date as 15 October 1761. Of the engraving, Hogarth himself commented in his book of anecdotes: There is no great difficulty in measuring the length, breadth, or height of any figures, where the parts are made up of plain lines. It requires no more skill to take the dimensions of a pillar or cornice, than to measure a square box, and yet the man who does the latter is neglected, and he who accomplishes the former, is considered as a miracle of genius; but I suppose he receives his honours for the distance he has travelled to do his business. As a parallel to the five orders of classical architecture identified by Palladio (Doric, Ionic, Corinthian, Composite and Tuscan), the engraving postulates five "orders" of periwig, from the relatively simple "Episcopal" (for the clergy), through the "Old Peerian or Aldermanic" (for lords and council officials) and "Lexonic" (for lawyers) to the more ornate "Composite or Half Natural", and finally the effete "Queerinthian or Queue de Reynard" (a pun on the French for "foxtail"). A scale shows the "Athenian Measure" by which the dimensions of each wig are annotated, with one "nodule" comprising 3 "nasos" (noses) and each "naso" of 3 "minutes". The component parts of each wig are labelled with letters A to I, each denoting a mock architectural term, from A: the "Corona or Lermier or Foretop" and B: the "Architrave or Archivolt or Caul" to H: "Fillet or Ribbon" and I: "Helices or Volute or Spiral or Curl". Several of the faces depicted have been identified. Those in the Episcopal line are intended to resemble Doctor William Warburton, Bishop of Gloucester (left) and Doctor Samuel Squire, Bishop of St David's (right). In the "Old Peerian or Aldermanic" row are Lord Melcombe (left) and another. The wig depicted to the far right is a "remarkable winged periwig" worn by Sir Samuel Fludyer, 1st Baronet when he became Lord Mayor of London earlier in 1761. At the bottom of the engraving is an inscription stating that a series of six folio volumes published over 17 years will set out the measurements of the periwigs of the ancients. This satirises Stuart's Antiquities of Athens. Above, a line of female profiles shows, from left to right, the face of Queen Charlotte and five others, each wearing a triple necklace and bearing a coronet: a duchess, a marchioness, a countess, a viscountess, and a baroness. They have been alternatively identified as the Ladies of the Bedchamber in 1761: the , Duchess of Hamilton, Countess of Effingham, Countess of Northumberland, Viscountess Weymouth, and . Hogarth created the engraving a few weeks after the coronation of George III and Queen Charlotte, inspired by the elaborate costume worn by those who attended. Horace Walpole wrote: "Some of the peeresses were dressed over night, slept in armchairs, and were waked if they tumbled their heads". A number of spelling mistakes were noted in the first state of the engraving ("advertisment", "volumns"). A second state of the engraving corrects a typographical error by inserting the letter "e" in "advertisment", and relabels the "Episcopal" order of periwigs as "Episcopal and Parsonic".r of periwigs as "Episcopal and Parsonic".
, Five Orders of Periwigs (The Five Orders o … Five Orders of Periwigs (The Five Orders of Perriwigs as they were Worn at the Late Coronation Measured Architectonically) [lit., 'Cinco órdenes de pelucas', de título completo 'Los cinco órdenes de pelucas que se usaron en la Última Coronación medidas arquitectónicamente] es un grabado de 1761 de William Hogarth. Tiene varios niveles de sátira: primero, y más claramente, parodia la moda de las pelucas extravagantes de mediados a finales del siglo XVIII; en segundo lugar, al clasificar las pelucas en «órdenes», satiriza la formulación de los cánones de belleza a partir del análisis de las piezas que se conservan de la arquitectura y la escultura clásicas de la antigua Grecia y la antigua Roma, en particular de los restos clásicos de Atenas, Roma, Baalbek y Palmira, plasmados en los precisos dibujos arquitectónicos de (publicados en Antiquities of Athens, cuyo primer volumen apareció en 1762). En la parte inferior derecha, el grabado indica su fecha de publicación el 15 de octubre de 1761. Del grabado, el propio Hogarth comentó en su libro de anécdotas: No hay gran dificultad en medir la longitud, anchura o altura de cualquier objeto, cuando las partes estan formadas por líneas simples. No se requiere más habilidad para tomar las dimensiones de un pilar o de una cornisa que para medir una caja cuadrada, y sin embargo, el hombre que hace lo último es descuidado, y el que logra lo primero, es considerado como un milagro de genio; pero supongo que recibe sus honores por la distancia que ha recorrido para hacer sus asuntos. There is no great difficulty in measuring the length, breadth, or height of any figures, where the parts are made up of plain lines. It requires no more skill to take the dimensions of a pillar or cornice, than to measure a square box, and yet the man who does the latter is neglected, and he who accomplishes the former, is considered as a miracle of genius; but I suppose he receives his honours for the distance he has travelled to do his business. En paralelo a los cinco órdenes de la arquitectura clásica identificados por Palladio (dórico, jónico, corintio, compuesto y toscano), el grabado postula cinco «órdenes» de pelucas, desde el relativamente simple «Episcopal» (para el clero), hasta el «Old Peerian or Aldermanic» (para lores y funcionarios del consejo) y «Lexonic» (para abogados) hasta el más ornamentado «Composite or Half Natural» [compuesto o medio natural], y finalmente el decadente «Queerinthian or Queue de Reynard» (un juego de palabras, en francés, por "cola de zorro"). Una escala muestra la «medida ateniense» mediante la cual se anotan las dimensiones de cada peluca, con un «nódulo» compuesto por 3 «nasos» (narices) y cada naso de 3 «minutos». Los componentes de cada peluca están rotulados con letras de la «A» a la «I», cada una designando un término arquitectónico simulado, desde A: la «Corona o Lermier o remate» y B: el «Arquitrabe o arquivolta o camiseta» hasta H: «Filete o cinta» e I: «Helices o voluta o espiral o rizo». Se han identificado varios de los rostros representados. Aquellos en la línea episcopal están destinados a parecerse al doctor , (izquierda) y al doctor , (derecha). En la fila «Old Peerian or Aldermanic» están lord Melcombe (izquierda) y otro. La peluca representada en el extremo derecho es una «peluca alada notable» que usó sir , primer baronet cuando se convirtió en Lord alcalde de Londres a principios de 1761. En la parte inferior del grabado hay una inscripción que indica la supuesta pertencencia a una serie de seis volúmenes en folio que serán publicados a lo largo de 17 años y que expondrán las medidas de las pelucas de los antiguos. Esto satiriza las Antiquities of Athens de Stuart. Arriba, una línea de perfiles femeninos muestra, de izquierda a derecha, el rostro de la reina Carlota y de otras cinco personas, cada una con un collar triple y una corona: una duquesa, una marquesa, una condesa, una vizcondesa y una baronesa. Otros las han identificados como las [Damas de la alcoba] en 1761: , duquesa de Hamilton, , condesa de Northumberland, y . Hogarth creó el grabado unas pocas semanas después de la coronación de Jorge III y de la reina Carlota, inspirado en el elaborado traje que usaban los asistentes. Horace Walpole escribió: Algunas de las peeresses se vestían durante la noche, dormían en sillones y se despertaban si caían de cabeza. Some of the peeresses were dressed over night, slept in armchairs, and were waked if they tumbled their heads. Se observaron varios errores ortográficos en la primera versión del grabado («advertisment», «volumns»). Una segunda versión corregía uno de los errores tipográficos insertando la letra «e» en «advertisment», y vuelve a etiquetar el orden «episcopal» de pelucas birraguinas como «Episcopal and Parsonic» [episcopal y parsónico].pal and Parsonic» [episcopal y parsónico].
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Five Orders of Periwigs (The Five Orders o … Five Orders of Periwigs (The Five Orders of Perriwigs as they were Worn at the Late Coronation Measured Architectonically) [lit., 'Cinco órdenes de pelucas', de título completo 'Los cinco órdenes de pelucas que se usaron en la Última Coronación medidas arquitectónicamente] es un grabado de 1761 de William Hogarth. Tiene varios niveles de sátira: primero, y más claramente, parodia la moda de las pelucas extravagantes de mediados a finales del siglo XVIII; en segundo lugar, al clasificar las pelucas en «órdenes», satiriza la formulación de los cánones de belleza a partir del análisis de las piezas que se conservan de la arquitectura y la escultura clásicas de la antigua Grecia y la antigua Roma, en particular de los restos clásicos de Atenas, Roma, Baalbek y Palmira, plasmados en los precisoaalbek y Palmira, plasmados en los preciso
, The Five Orders of Periwigs (The Five Orde … The Five Orders of Periwigs (The Five Orders of Perriwigs as they were Worn at the Late Coronation Measured Architectonically) is a 1761 engraving by William Hogarth. It contains several levels of satire. First, and most clearly, it lampoons the fashion for outlandish wigs in the mid to late 18th century. Second, in classifying the wigs into "orders", it satirises the formulation of canons of beauty from the analysis of surviving pieces of classical architecture and sculpture from ancient Greece and ancient Rome, particularly the classical remains at Athens, Rome, Baalbek, and Palmyra, and the precise architectural drawings of James "Athenian" Stuart (published in the Antiquities of Athens, the first volume of which appeared in 1762). To the lower right, the engraving gives its publicationright, the engraving gives its publication
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