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

The Five Orders of Perriwigs as They Were Worn at the Late Coronation, Measured Architectonically by William Hogarth is a masterful example of the artist's biting visual satire, executed in 1761 as an etching on laid paper. This significant print, created during the British period spanning 1751 to 1775, serves as a sharp commentary on the social and political vanity surrounding the recent coronation of King George III. Hogarth employs precise draftsmanship and mock-academic rigor to transpose the codified system of classical architecture-specifically the canonical Five Orders of columns and capitals-onto the elaborate, status-driven hairstyles of the era.

The work functions as a direct critique of fashionable excess and artistic pretension. Hogarth systematically measures various periwig styles, labeling them with absurd mock-serious architectural terms, thus equating the frivolous, powdered volumes of high-society hair with the established perfection of classical proportion. Replacing the traditional Vitruvian metrics with his own humorous definitions, he titles the categories "The Grand Callimanco," "The Composite," and "The Queues," among others. This juxtaposition highlights the artist's view of a society that elevates superficial symbols of status to the level of high art or scientific study.

As one of the most intellectually sophisticated prints created by the artist, this piece demonstrates Hogarth’s enduring power as the era's chief chronicler of social folly. The detailed etching technique brings the intricate curls and powdered textures to life, enhancing the satirical impact by treating the ridiculous subject matter with meticulous, almost scientific seriousness. The humor is derived from the stark contrast between the lofty intellectual standards implied by the term "architectonically measured" and the inherent superficiality of the fashion being appraised. As an important piece of 18th-century British graphic arts, the work confirms the role of prints in disseminating immediate and pointed social commentary. This historical satire resides today in the collection of the National Gallery of Art, making this essential piece of public domain art widely available for study.