Five Orders of Periwigs

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The Five Orders of Periwigs MET DP829231

Five Orders of Periwigs is a satirical piece that was published in 1761, reflecting the social and cultural attitudes towards fashion and satire in the 18th century. The work categorizes periwigs, or wigs, which were a prominent fashion item among the European elite and gentry during this period. The categorization is done in a humorous and exaggerated manner, showcasing the author's wit and critique of contemporary fashion trends.

Overview[edit | edit source]

The Five Orders of Periwigs delineates five distinct styles of wigs that were purportedly popular at the time. These styles are described in a manner akin to the architectural orders, thus imbuing the piece with a sense of mock formality and grandeur. The orders include:

  1. The Almighty Wig
  2. The Omnipotent Wig
  3. The Deity Wig
  4. The Patriarch Wig
  5. The Prophet Wig

Each "order" is characterized by its size, complexity, and the supposed social or moral standing it conferred upon its wearer. The descriptions are laden with irony, suggesting that the more elaborate and ostentatious the wig, the more ridiculous the wearer.

Cultural Significance[edit | edit source]

The Five Orders of Periwigs is more than just a humorous critique of fashion. It serves as a window into the social dynamics and values of the 18th century, particularly the importance placed on appearance and social status. Wigs, during this time, were not merely fashion accessories but symbols of wealth, power, and respectability. By satirizing the wigs, the author indirectly critiques the superficiality and vanity of the society that valued them so highly.

Legacy[edit | edit source]

While the specific authorship and impact of the Five Orders of Periwigs on subsequent fashion trends are not well-documented, the piece remains a fascinating example of 18th-century satire. It is studied by historians and literary scholars as an artifact of cultural commentary, offering insights into the complexities of social identity and the role of fashion in societal critique.

See Also[edit | edit source]

Contributors: Prab R. Tumpati, MD