The Five Orders of Perriwigs as They Were Worn at the Late Coronation, Measured Architectonically

The print titled The Five Orders of Perriwigs as They Were Worn at the Late Coronation, Measured Architectonically by William Hogarth is a classic example of British satirical etching created in 1761. This highly detailed print, characteristic of the 1751 to 1775 period, engages in visual humor by comparing the elaborate styles of Georgian-era periwigs to the precise rules governing classical architecture. Hogarth uses the visual language of academic measurement and classification to mock the vanity and excessive formality displayed by attendees at the recent coronation of King George III.

Hogarth, a master of social commentary, executes this etching with meticulous attention to detail, labeling each specific style of wig-including the "Capitoline," "Attic," and "Tuscan"-as if they were canonical elements of building design. The composition critiques the adoption of rigid French fashion and the general pomposity of the British court. By treating hairstyles as if they required the solemn analysis usually reserved for monuments, the artist highlights the absurdity of social obsession with transient fashion. As a form of mass-produced prints, this highly reproducible medium ensured wide distribution of the piece, allowing Hogarth's commentary to reach a broad public audience quickly after the event it satirized.

This significant work remains a key piece in understanding 18th-century British visual satire and the artistic tradition of leveraging prints for social critique. Its historical importance means that high-quality images of the etching are often available through public domain resources, benefiting scholars and enthusiasts of the period. This specific impression of The Five Orders of Perriwigs is housed within the esteemed collection of the National Gallery of Art, Washington D.C., preserving a crucial example of Hogarth's late career output and his consistent mastery of the etching technique.