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Hair, Wigs and Wig Wearing in Eighteenth-Century England

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Hair, Wigs and Wig Wearing in Eighteenth-Century England University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/66909 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Hair, Wigs and Wig Wearing in Eighteenth-Century England Emma Markiewicz A thesis submitted in part fulfilment of the requirements for the degree of Doctor of Philosophy in History Department of History University of Warwick September 2014 Table of Contents List of Tables and Illustrations .................................................................................v Acknowledgements ...............................................................................................viii Declaration ..............................................................................................................ix Abstract ...................................................................................................................ix List of Abbreviations………………………………................................................x Introduction ………………………………………………………………………1 Hair as a Body Part, or Part of the Body …………………………………..4 Thesis Outline …………………………………………………………......5 Material Culture Studies ………………………………………………….10 History of Medicine, History of the Body ………………………………..14 Histories of Trade and Consumption ……………………………………..17 History of Dress …………………………………………………………..20 Scope: Chronology and Gender Focus …………………………………....23 Source Material …………………………………………………………...25 Part One – The Physical Nature of Hair ………………………………………31 Chapter One – Hair as Part of the Body: Physical Order and Disorder…….32 1.1 Hair and Medical Theory …………………………………………….33 1.2 Hair and Symptoms of Ill Health …………………………………….40 1.3 Understanding the Physical Nature of Hair ………………………….48 1.4 Disorders of the Head ………………………………………………..55 1.5 Hair and Infection ……………………………………………………60 1.6 Conclusion …………………………………………………………...66 Chapter Two - Hair as a Part of the Body: Beauty and Well Being…………68 2.1 Hair and the Appearance of Health ………………………………….69 2.2 Hair and the Beauty Trade …………………………………………..79 2.3 Hair and Domestic Cleanliness ……………………………………...86 2.4 Health and the Artificial Appearance ………………………………..98 ii 2.5 Conclusion …………………………………………………………..103 Part Two – Transforming Hair ……………………………………………….105 Chapter Three - The Modification of Human Hair: From Part of the Body to Artefact ………………………………………………………………………....106 3.1 Hair Humane or Brute Hair …………………………………………106 3.2 The Geography of the Hair Trade …………………………………..114 3.3 Obtaining the Raw Material ………………………………………...117 3.4 The Value of Human Hair …………………………………………..123 3.5 Transforming Hair into Wigs ……………………………………….127 3.6 Strategies of Buying and Selling ……………………………………136 3.7 Conclusion …………………………………………………………..142 Chapter Four - The Commodification of Human Hair: The Business of Hair …………………………………………………………………………………...143 4.1 Defining Relationships in the Hair Trade …………………………...144 4.2 Organisation of the Hair Trade ……………………………………...148 4.3 The Worshipful Company of Barber-Surgeons ……………………..153 4.4 The Growth of the Hair Trade ……………………………………....156 4.5 Diversification of the Hair Trade …...………………………………158 4.6 The Emergence of the Hairdresser ………………………………….161 4.7 How Lucrative was the Hair Trade? ……………………………......165 4.8 The Politics of Hair …………………………………………………170 4.9 Conclusion ………………………………………………………….175 Part Three – Consuming Hair ………………………………………………..177 Chapter Five - Wearing Hair: Strategies of Use …………………………….178 5.1 Health and the Maintenance of Cleanliness ………………………...179 5.2 Wigs for Transformation and Gender Differentiation …………… 182 5.3 Wigs as Fashionable Attire …………………………………………189 5.4 Ownership of Wigs …………………………………………………198 5.5 Shape and Style ……………………………………………………..209 iii 5.6 Conclusion ………………………………………………………….220 Chapter Six - Wearing Hair: The Morality of Physical Transformation ….222 6.1 The Physical Nature of Hair: Judging Character, Behaviour and Identity …………………………………………………………………………..222 6.2 The Morality of Long Hair …….…………………………………...227 6.3 Hai r and Identity: To Conceal, Disguise and Control ……………...232 6.4 Transforming Hair into Fashion: Profiting from the Body …………236 6.5.The Construction and Deconstruction of Social Order ……………..243 6.6 Wigs in the Popular Imagination ……………………………….…..246 6.7 Conclusion ………………………… ……………...……………….253 Chapter Seven - Towards a More Naturalistic Style: The Decline of Wig Wearing ………………………………………………………………………..255 7.1. Changing Perceptions of the Physical Nature of Hair ……………..257 7.2. A New Look for a New Century …………………….……………. 263 7.3. Politeness, Convenience and the Changing Aesthetic of Masculinity ………………….……………………………………………………….270 7.4 Conclusion ………………………………………………………….281 Conclusion ……………………………………………………………………..282 The Physical Nature of Hair ……………………………………………283 The Value of Hair as a Commodity …………………………………….286 Morality and the Creation of Appearances ……………………………..288 Bibliography …………………………………………………………………...293 iv List of Tables and Illustrations Table 3.1 Quantities of Hair Imported into the Domestic Market …………………………...…………………………………...…116 Illustration 1.1 Group portrait with Anatomical Demonstrations, painting by Cornelis de Man (1681) ……………………………………………………………………42 Illustration 1.2 The Academicians of the Royal Academy, painting by Richard Earlom (1773) ……………………………………………………43 Illustration 1.3 English Barber, print by P. Stevenart (1771…………………….64 Illustration 2.1 An advertisement for a perfumer’s shop (c.1780) ………...…….71 Illustration 2.2 The Village Barber. L.M., coloured etching by J. Bretherton (1722) ……………………………………………………………72 Illustration 2.3 Louse Clinging to a Human Hair, print by John Carwitham (1736) ………………………………………………………………………………...….96 Illustration 2.4 John Montagu, 2nd Earl of Montagu, painting by Sir Godfrey Kneller (1709) …………………………………………….……………..100 Illustration 2.5 Six Stages of Mending a Face, etching by Thomas Rowlandson (1792) …………………………………………………………..102 Illustration 3.1 Trade Card of Richard Arkwright (1755) ……………………...118 Illustration 3.2 Wig-making equipment, engraving by R. Bénard (1762) ……...129 Illustration 3.3 Wig-making equipment, engraving by R. Bénard (1762) ……...130 v Illustration 3.4 Wig from the funeral effigy of Edmund, Duke of Buckingham (1735) ………………………………………………………....…135 Illustration 3.5 Morning Post and Fashionable World (1796) ………………….138 Illustration 4.1 Trade Card of Thomas Brown, Peruke Maker and Hair Cutter, Bearbinder Lane, London (c. 1720) ……………………………..163 Illustration 5.1 Portrait of Colonel Alexander Luttrell by Unknown artist (c. 1700) …………………………………………………………………………………...184 Illustration 5.2 Portrait of Anne Spencer (nee Churchill) Countess of Sunderland by Sir Godfrey Kneller (c. 1710) …….…………….185 Illustration 5.3 The Gaols Committee of the House of Commons, print by William Hogarth (c. 1729) ……………………………………………….190 Illustration 5.4 The Five Orders of Periwigs, print by William Hogarth (1761) …………………………………………………………………………………...196 Illustration 5.5 King Charles II, painting after Sir Peter Lely (c. 1675) ……......210 Illustration 5.6 Thomas Wharton, First Marquess of Wharton, painting by Sir Godfrey Kneller (1710-15) ……………..……………………….211 Illustration 5.7 Portrait of Henry Fownes Luttrell by Unknown Artist (1730-40) …………………………………………………………………………………...217 Illustration 5.8 Portrait of Francis Luttrell by John Vanderbank (1729) ……....218 Illustration 5.9 Portrait of Prince James Francis Edward Stuart by Alexis Simon Belle (c. 1712) …………………………………………………..219 vi Illustration 6.1 Woodcuts from Physiognomische Fragmente zur BefÃrderung der Menschenkenntnis und Menschenliebe by Johann Kaspar Lavater (1775-1778) ……….……………………………………............224 Illustration 6.2 A Barbers Shop, print after Thomas Rowlandson, late eighteenth century ………………...………………………………………..239 Illustration 6.3 A selection of portraits by Godfrey Kneller (1710–15) ………..248 Illustration 6.4. A New Mode of Digestion from a Drawing of Mr. Grims by J. Lockington (1776) ……………………………………………...249 Illustration 6.5 An Election Entertainment, print by William Hogarth (1755)…252 Illustration 7.1 Advertisements in Public Advertiser (1770) …………………..261 Illustration 7.2 The Honourable Robert Boyle (1627-91), Irish Natural Philosopher, portrait by J. Smith (1689) …………………..…..265 Illustration 7.3 John Theophilus Desaguliers, portrait by Peter Pelham, after Hans Hysing (1725) …………………………………………………..266 Illustration 7.4 What Is This My Son Tom, mezzotint by R. Sayer & J. Bennett (1774).…………….…………………………………………….274 Illustration 7.5 Tobias George Smollett (1721-71), Novelist, portrait by unknown artist, c. (17……………………………………………………..276 Illustration 7.6 Westminster Election Scene Outside St. Paul’s, Covent Garden, print by Robert Dighton (1796) …..…………………………....279 vii Acknowledgements I am immensely grateful to the many people who contributed to this project over the last few years. Firstly, and above all, my thanks must go to my supervisor Giorgio Riello. His support has been second to none, and I would not have been able to complete this project without his insight and especially, his patience. I would also like to thank numerous colleagues from The National Archives for their continued interest in the project, and their unfailing ability to point me in the direction of records that opened up many new angles in my research.
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