Of wigs in general how much could be written! They are almost “as old as the hills,” and perhaps amongst the ancient Egyptians might be found the earliest makers of the periwig, or peruke. Indeed, in the British Museum can be seen a wig from the Temple of Isis that was made two or three thousand years ago; the curl and material of which it is made being well preserved. Probably the custom of shaving the heads of the people (for all had to submit to it), led to the introduction of wigs, and, as Wilkinson says, “it may appear singular that so warm a covering to the head should have been adopted in the climate of Egypt; but we must remember the reticulated nature of the ground-work, on which the hair was fastened, allowed the heat of the head to escape, while the hair effectually protected it from the sun: it is evident that no better covering could have been devised, and that it far surpassed, in comfort and coolness, the modern turban.” According to Stow, the periwig was first brought into England about the time of the massacre of St. Bartholomew (1572), but the peruke is mentioned in a wardrobe account in the time of Edward VI. About 1595, wigs “had become so much the fashion that it was dangerous for children to wander out of sight of their parents or attendants, as it was a common practice to entice them into some private place and deprive them of their hair for the manufacture of such articles.”—Planche. During the reign of Charles II. the large wigs (such as are shown in Kneller’s portrait of the Duke of Marlborough) were introduced, and continued to increase in size till the middle of last century. Concerning prices, the following is interesting:—“Perukes,” says Malcolm, “were an highly important article in 1734. Those of right gray human hair were four guineas each; light grizzle ties, three guineas; and other colours in proportion, to twenty-five shillings. Right gray human hair perukes, from two guineas to fifteen shillings each, which was the price for dark ones; and right gray bob perukes, two guineas and a-half to fifteen shillings, the price of dark bobs. Those mixed with horsehair were much lower. It will be observed, from the gradations in price, that real gray hair was most in fashion, and dark of no estimation.”

The names of wigs, as may be judged from the foregoing, possess deep interest for the trade, and it is therefore worth while to allude to them. In the reign of Queen Anne, in addition to very long and formally curled perukes, are mentioned “black riding wigs,” “bag wigs,” and “nightcap wigs.” The famous battle of Ramilies, in the same reign introduced the “Ramilie wig,” with a long gradually diminishing plaited tail, called the “Ramilie tail,” which was tied with a great bow at the top and a smaller one at the bottom. In the reign of George II., the “tye-wig” and the “pigtail-wig” have to be added to the catalogue, and at the same time the revival of the “bob-wig,” first heard of in 1684, or one that is called after it, is also spoken of. The “bob-wig” is thus described:—“I cut off my hair and procured a brown bob periwig of Wilding of the same colour, with a single row of curls just round the bottom, which I wore very nicely combed and without powder.” Indeed, “the nomenclature of wigs is very ample,” says an authority on the subject, “a complete system of classification might be adopted, and genus and species discriminated with the greatest nicety: there were Wigs Military, Legal, Ecclesiastical, and Infantile,” room being found only for a few varieties, viz.:—

Wigs were first worn by barristers about 1670, to which opposition was made by the judges, and some of the leaders were not allowed to plead in their new head-gear. In the time of James II. wigs increased in size, becoming still larger in the following reign (William III.), when wigs were adopted by all classes, but among those of humble station they were moderate in size and price. Gentlemen’s wigs, however, were large and full, requiring much hair in their manufacture. It is recorded that in 1700 a sum of £60 was given for a country girl’s hair, and that the grey hair of an old woman deceased sold for nearly as much—the ordinary price of a first-class wig being at that time forty pounds. Full-bottomed wigs were invented, it is said, by Duviller, for the purpose of hiding some natural defect in the shoulders of the Dauphin. Children wore wigs, or the natural hair was curled to look like them. Archbishop Tillotson was the first of our prelates who wore a wig. Steele’s wig cost as much as forty guineas. Dean Swift had a fine wig for state occasions, and “Colley Cibber’s wig, in which he played a favourite character, was of such noble proportions that it was brought upon the stage in a sedan by two chairmen.” The tie-wig (the long-curled wig abridged) was not considered court dress.

“How to wear a wig,” says the author of “Trichocosmos,” “was part of the education of a man of the world, not to be learned from books. Those who know what witchcraft there is in handling a fan, what dexterity in the ‘nice conduct of a clouded cane,’ will imagine the wits and gentlemen of old did not suffer the wig to overshadow their temples with perpetual gloom, like the wreath of smoke which overhangs our Modern Babylon. And many a country squire must have tried in vain to catch the right toss of the head; to sport a playful humour in those crisp curls; or to acquire the lofty carriage of the foretop, or the significant trifling with some obtrusive lock; and felt as awkward in his new wig as a tailor on horseback, or a fat alderman with a dress sword dangling between his legs.”

Natural coloured wigs were worn till about 1714, when it became fashionable to adopt bleached hair, which soon faded, then wigs were powdered. It is said that wigs of peculiar excellence cost as much as £140 each, and it is on record that “a petition from the master peruke-makers of London and Westminster, presented to the king (George III.) in 1763, points out the great decline of their use to have taken place at that time.” In this memorial they complain of the public wearing their own hair, and say, “That this mode, pernicious enough in itself to their trade, is rendered excessively more so, by swarms of French hairdressers already established in those cities, and daily increasing.”

Theatrical wigs will supply many capital illustrations of those that were worn by notable personages in former years, and a ramble through the National Gallery, Hampton Court Palace, and other public as well as private picture galleries will be found highly instructive to wig-makers of the present day. The chief art now consists in making wigs so closely to imitate Nature as to defy detection, and those who succeed in doing so may well be classed among the most talented men in the profession. Wigs and scalps will always be worn, and probably there is a good trade to be done in such manufactures now, but great attention to every detail is necessary so as to withstand the keen glance of scrutiny.

I will now apply myself to the task before me, but consider that a few general observations are necessary and important before entering into the technicalities of the art.

When taking an order for a lady’s or gentleman’s wig, observe the shape of the head, cast of countenance, and age of the person who intends wearing it. Note whether the head is long, broad, or high, as a correct shape ought to be maintained by the wig-maker, who, in this and other respects, should be an artist. Observe also whether the face is long, round, or oval, because the arrangement of the hair on the forehead and sides of the head has much to do in presenting a good appearance. If this passes observation and comment, the result may be considered satisfactory; but should there be “a something” objectionable which causes remark, find out what it is, or where the fault lies, and either remove or alter it if possible. Again, notice the countenance; do not put in contrast to an aged face hair that is only suitable to youth. Let the hair be consistent both in colour and quantity with the age of the wearer, and, above all, endeavour to avoid anything extravagant or out of place. A gentleman’s wig must be cut and trimmed after it is made, to adapt it to the style and taste of the wearer; it ought to fit easily in every part; and where springs are, no undue pressure should be allowed to exist. While the general appearance has to be well considered, the comfort of the wearer must always be kept in view.

The reader is, doubtless, fully aware that baldness is not confined to age, for some men lose their hair early in life. You may, without much trouble, find a bald-headed man at thirty, and it is perhaps as easy to discover a man at sixty with a fairly good head of hair. All classes are likely to be more or less troubled with baldness, for it makes its mark in a variety of ways. Sometimes the hair recedes from the brow, giving the appearance of a very high forehead, at other times it only attacks the crown. Then, again, the whole of the top part of the head is left bare, which not unfrequently extends to the occiput behind. A partial baldness requires merely a scalp which may, according to the circumstances of the case, be either large or small, but when the baldness is extensive, a wig will be found the most convenient and suitable head-covering. Scalps are consequently made in a variety of shapes and sizes; the mountings are equally variable, and the method adopted for holding them firmly in position admits of great ingenuity. Some scalps are mounted with galloon, net, and springs; others have a metallic-spring attachment, which sensibly, though not uncomfortably, grips the head, while another mode of fastening is by means of “penknife springs” or clasps.^[19] (These open as the name indicates, and being closed, a small portion of the growing hair is shut in or clasped at the same time.) Some scalps, when made for the top of the head and crown have, in addition, a strip of galloon, which, being covered with hair, easily adapts itself to the lower part of the back of the head. By an arrangement of this character a scalp cannot possibly go forward on to the forehead of the wearer. Scalps when made very light and delicate, and intended for a small-sized patch upon the upper portion of the head, and sometimes the crown, are fixed only with gum, a gummy substance sold for the purpose, or diachylon. This gossamer-like scalp admits of very superior work (knotted), while the mounting, if required, should be of the lightest possible description. Where strength and durability are concerned, probably nothing can be better than a well-sewn, woven scalp or wig; but when art steps in to closely imitate nature, and attempts to defy the keen glance of scrutiny, then both single and double knotting are brought into requisition. This presents a more natural appearance, of course, and though the cost is increased, the work is not so lasting. In wig and scalp making there is plenty of scope for ability, ingenuity, and taste, for to insure success very much is left to the judgment of the maker, and to the carefulness and discretion of the wearer, so as to prevent his “secret” being discovered. I will give some working directions, with suitable illustrations, as I proceed, but for the present I am chiefly concerned in impressing certain leading points or features upon the mind of the learner, as success will greatly depend upon strict attention to minute details.

Of course, careful measurement is all important, for no matter how well the work may be done, if it proves to be a misfit, disappointment and annoyance, to say the least, will surely be felt by the parties concerned. Besides, a mistake of this kind is likely to prejudice the mind of the customer, and another article (however well-made) might not, perhaps, be received with favour; therefore, be exact. I wish now to direct attention to the illustration which appears on the next page and to the following directions for measurement.

No. 1.—With a tape measure ascertain the circumference of the head.

No. 2.—Measure from the centre of the forehead (where the hair should be) to the nape of the neck.

No. 3.—Ascertain the distance from ear to ear across the forehead (see the lower dotted line).

No. 4.—Measure from ear to ear over the top (or highest) part of the head.

No. 5.—Note how many inches it is from temple to temple, round the back of the head.

These directions are simple enough and only require careful attention; be very exact in writing down the figures, and observe the formation of the head. Of course, all these measurements are not wanted for a scalp (some scalps at all events), but the different kinds of work are so intimately associated that it is difficult to make any very marked distinction here upon the subject. Besides using a tape measure, it will be as well to cut out a paper pattern for a scalp. An expert might say there is no necessity for doing both, but I am not addressing myself to the advanced men in the trade, who do not stand in need of assistance from me. I direct my remarks more particularly to apprentices, improvers, and to beginners in general. To them I say—you cannot be too particular, therefore do not spare yourself a little extra trouble, as you may probably reap advantage from it before the job is finished. A paper pattern for a scalp comes in very useful at times, more especially when there are some intricacies to be noted. It need not be exactly a pattern, but still it should unmistakably show the outline of the patch which is to be covered. Having taken the dimensions, then, the next thing is to cut off a piece of hair for the colour. Your customer should be advised to wear his hair a convenient length for the purpose in view, (say) from two and a-half to three and a-half inches long. Fashion, of course, has much to do with the length of men’s hair, but you cannot make a wig or scalp with hair so preposterously short as is worn by many at the present time—that is out of the question. The real hair as well as the “false” should be sufficiently long to allow of one combining with the other. There ought not to be any division, and the length of the hair must, as a consequence, be taken into consideration. Whether a crown is to be put in, or a crown and parting, should next engage attention; also, whether the parting is to be in the centre, on the right, or left side; if it is to be skin or transparent; and what kind of foundation. These preliminaries being arranged, I will proceed with the making of a scalp.

The scalp you are to make is without a patent parting, but with a crown either of silk or skin. If any parting is to be made on this scalp, it should not be clearly defined, but whether it be formed with weft or “knotted,” the hair ought to be set closer than it is elsewhere. This, however, will be alluded to later on. Should a rather narrow scalp be all that is required, and the wearer’s hair thick enough, a parting could well be made upon the head, some of the natural hair being trained to comb over and allowed to mingle with the hair of the scalp. Nothing could be better than an arrangement of this kind, where it is possible to adopt it. Attention must also be paid to the “set” of the hair upon the brow; if allowed to remain in slight disorder perhaps that would be the better way to wear it. At all events, a “wiggy” and cloudy aspect should be avoided.

The mount represented above is, as I before stated, for a scalp with a crown, but without a patent parting. In reference to mounting, detailed instructions have frequently been given, which I need not here repeat. Take a clean, smooth, mounting block, and with a blacklead pencil carefully mark the size and form of the work taken in hand. Having done this, commence at the back by tacking on the galloon (which should be a little wider than that ordinarily used for fronts, bands, &c.), and with it follow the line marked until the ends meet. Arrange this so as to have half an inch or more to spare at both of the ends. Of course, in following the pencil marks with the galloon, you have found it necessary to use points so as to keep the shape, drawing the galloon at the same time moderately tight. You are now to hold the free ends between the thumb and finger of the left hand close down upon the block, while you stitch them through and through, so that when done they may be close and firm. Open the ends, gently hammer the sewn part, and take a few stitches to keep the ends in place. You are now to baste where it has just been sewn, observing to maintain an even roundness so as to fit nicely at the back of the head. Come now to the front and form the peak upon the forehead, but it should be more rounded and less pointed than is indicated in the engraving.^[20] The sides are to be basted out as shown, and to impart a graceful curve, points are to be driven into the centre of the block and the galloon drawn inward as required. I will now assume that the outline of the scalp is formed; the galloon moderately tight and firmly held in place—and that it is ready for other matters to be proceeded with. Sew a piece of galloon from temple to temple; affix another piece at the sides (across the top) and then connect the front and back together. A glance at the illustration shows clearly what is to be done.^[21] Springs are now to be attached, and for this purpose take a piece of watch-spring sufficiently long to reach from the forehead nearly to the crown, or quite to the edge of the crown if considered necessary. Two other springs are to be prepared extending from the side angles to join the centre one. At this point they are not to overlap, but must fit evenly and flat. Here, again, a reference to the engraving will indicate my meaning. It may be necessary to put two springs at the back also, especially if the scalp be rather large, otherwise, the patent crown might be found sufficient. The springs are to be somewhat flattened, so as to fit the mount exactly, for unless this be attended to, the scalp will not lie upon the head as it should do. They must now be filed or ground off at the ends, and tipped with kid, thin leather, or parchment, the whole neatly covered with galloon, and then sewn in their proper places. The next thing is to put on some silk net, carefully sewing it all round the inner margin of the scalp. Cut off, leaving an edge which must not extend beyond the outer line of the galloon. Fix this in place by means of the “herring-bone” stitch, and sew the net to all the other edges of the galloon and springs. I may observe that it is intended to cover this mount with weft, but were it to be “knotted,” the edges of the net should be left rather long, then turned in, and firmly sewn to the outer line as previously instructed.

“Pen-knife” springs should now be attached.

They are, as before stated, made to open, and upon being closed, a small portion of the natural hair is shut in with what might be termed the blade. Here is the representation of a “penknife” spring (open), and it is drawn the exact size.

The scalp now in course of manufacture would require three or four of these fastenings, namely, one on each side towards the front, and one or two at the back in convenient situations.

Observe that these springs are intended to lie as flat as possible, being made with a slight concavity, which should go next the head. They must, consequently, be arranged as “rights” and “lefts.” Take a piece of galloon the width of the spring (that which is used for the mount will probably answer the purpose), turn in the ends, and sew over and over right round, except where the blade shuts in. In order that you may properly secure the covering, notice three small holes in the spring, through which stitches should be made. These details having been attended to, the springs are to be attached to the mount, and, I need scarcely say, they ought to be secure.

The hair is now to be put on, and the weft I presume is ready. Correct judgment, together with the requirements of the work, should, to a certain extent at least, guide you. As the rows of weft are arranged, so the hair will “set,” and this should always be borne in mind. A properly made and well-dressed gentleman’s wig is a “study,” from which much is to be learnt, and young men in the trade should never allow such ingenious productions to pass unnoticed. Of the “cutting and dressing a gentleman’s wig” I shall speak presently, and merely allude to it here for the purpose of showing the importance which attaches to a proper arrangement of hair in the first instance, whether it be woven or “knotted.” Remember, as a rule, that in gentlemen’s wig-making the hair should always be dressed to the face, but this effect cannot be produced without careful attention to the rows of weft, or “knots.” However, in this instance suppose you adopt the following plan. Commence sewing on the weft at the back, at the lower edge of the galloon, and continue it all round; go round again, sewing the weft moderately close to the first row. It is important that these should be well and neatly put on. Continue sewing till you come to one of the angular places which is to be filled up, bearing in mind the preceding observations. Then pass on (without cutting the weft) to another and another, till all the corners are disposed of. If this be judiciously executed, you will then have a “clear field” to work upon, and may go on sewing the weft round and round until you approach the crown, when the rows must be a little closer together. While there is yet plenty of room, take the crown (silk or skin I am supposing it to be), sew the edges, as is done when putting in a patent parting, and fix neatly, yet firmly, in its proper position. Then go on with the weft, and finish off upon the crown, close to the hair.

Having done with the needle, the work is now to be pressed (and some of these observations apply to wig-making in general), about which you must needs be careful. The hair employed in this description of manufacture (short crop hair) is specially curled for the purpose, and in making gentlemen’s wigs, hair of two, three, and sometimes four different lengths is used, so as to avoid cutting, if possible. It stands to reason that the hair put at the top of a wig or scalp should be longer than that in the neck, while at the sides the hair required is probably of a length something between the two. Therefore, when purchasing the hair, calculate the length before-hand, or, should it be in stock, cut it off at the roots before weaving or “knotting,” if it is found necessary to do so. In pressing and dressing this scalp, I will assume that merely the points of the lower hair are to be removed, therefore push back with a comb the same as though you were about cutting a lady’s hair, and remove the ends with a sharp razor. Even this must be done in a particular manner, and is to be produced by a kind of sliding motion. Let me tell you the object which is to be attained, that you may the more readily understand what and how to do it. The natural ends of hair are finer and more pointed than they would be if cut. They curl and combine more readily if left in their normal condition, with which ordinary cutting is likely to interfere: therefore the employment of a razor is to make the points resemble the original as near as possible.

Pressing, you can now perceive, is equally important, and should be done first. You must press the work, but not the hair—that is, the curl; for if you do that, the job will be spoilt before it leaves your hands, that’s all! Therefore, press carefully; incline each section of the hair as it leaves your fingers to take up its proper position; do not injure the curl in the least, and endeavour to impart to it a natural and becoming appearance.

Another way of fixing the scalp is by means of a metallic spring (see Fig. 36), and it can easily be adapted to the purpose. The galloon which passes across the top could either be dispensed with, or arranged so that the spring, when covered, passes along unseen. The front of it could easily be made to come forward, while the corner springs (either front or back) must be reduced, or otherwise designed so as to keep the scalp well in shape.

These springs, I may observe, are made to go across the top of the head, while others are constructed to go at the back, just below the bind of the hat. It is of the former description that I now speak. For making either a scalp or wig with a metallic spring it is best to keep some of these springs in stock, and when taking an order try them on, so as to get one that will be easy and comfortable. Heads vary in size, so do the springs; therefore, this mode of fitting a spring is essential. That part which extends from front to back is movable, and can be readily adjusted, while the behind part may be broken off at pleasure, the end, of course, being filed and covered in the usual way. With these preliminaries arranged, take a long piece of galloon, fasten on to a given point (say the front), and wrap round to the end, firm, smooth, and regular, holding the spring at the same time in the left hand; the upper edge of the galloon which is on the spring being covered with the lower edge of that which is free. Continue this from one end to the other and sew firmly. Now do the side-spring in the same way; cover neatly the centre at the top of the head, and sew wherever necessary. Of course, the spring will by this arrangement project at the sides, and extend down towards the ears. All this part, then, must be covered with weft, the hair well “set,” pressed forward, and made to combine with the natural side hair of the wearer.

The mounting already shown is capable of numerous modifications, but the general directions remain the same. The form may be enlarged or diminished, it can be oval-shaped or round (or three-cornered if needs be), nevertheless, all the details must be carefully attended to if good workmanship be desired.

Baldness is not particular to age, neither does it assume any definite form; it varies upon different individuals. As a consequence the size and shape of scalps vary considerably, and the class of work is regulated not unfrequently by the purse. These deviations from any fixed rule, therefore, afford ample scope for the display of ingenuity and taste on the part of the boardsman; and to be a good wig-maker is a strong recommendation to first-class situations. Clever workmen, as I have stated before, do not stand in need of instruction, and were I to offer it some offence might reasonably be taken; but with apprentices and improvers, as well as those in business whose experience in the wig-maker’s art is limited, the case is altered, and if I can be the means of helping them my task will not have been undertaken in vain.

To manufacture a scalp of a like description but with a silk or skin parting and crown inserted, proceed as follows:—Mark the outline of the mount upon a clean block and put on the galloon as before. Note the width and length of the parting, which should always be placed on the left side except when ordered otherwise, and arrange so that the centre of the crown will fall into its proper place. Having basted the galloon which marks the shape or outline of the scalp, you can then attach the piece which extends from front to back, and a cross piece right in front, if necessary (see illustration).^[22] Notice the width of the parting, and in regard to this portion of the work, deal with the mount as instructed in mounting a front, paying great attention to the edge where it joins the forehead. About this you cannot be too particular. Now take the galloon and drive a point in the end of it, near to one of the basting-stitches, and conduct it upwards towards the crown; form the outline of the crown with it, and return to the fellow basting-stitch where it is to be cut off. I will now assume that you have the exact form of the parting and crown, the galloon being held in position by means of points driven into it at intervals. Sew the ends in their places, and baste the galloon, making a neat circle at the crown. Here the galloon will become puckered; the puckers are to be pinched together, sewn through and through, and made to lie as flat as possible. Having done all this, what, let me ask (in order that I may be clearly understood), is the object in view? It is to impart neatness to the work, and to conceal the margins of the parting and crown; it renders the scalp more durable, and when off the block the edges of the parting, &c., are neatly concealed.

The net and springs are to be put on, then the hair, and all finished off in a proper manner. Scalps of this description can be held in their places by means of a cement made and sold for the purpose (to which I shall presently allude), but I cannot help thinking that, after all, springs are preferable.

A better class of work is done upon gauze, and the best of all is made upon human hair foundations. Other materials for the purpose, of an inferior description, are used, to which I need not here refer, as the two kinds named are sufficient for my purpose. The gauze is very fine in texture, and can be mounted with galloon or not, just as it may be considered necessary. Of course, galloon affords additional strength to the article, and if lightness be not the chief requisition, I should say that gauze scalps were more durable when mounted. Here is an outline of one:—

It will be seen that there is galloon all round, and to the parting and crown also. A mount of this character can be designed by omitting the latter altogether; it can be made with a crown only, or, with a parting in addition, as shown in the diagram,^[23] but in that case, the piece of galloon which now marks a separation between the crown and parting should be omitted. This, of course, could easily be managed by putting on the galloon in the way just previously mentioned. A scalp of this kind can be mounted with white, drab, or other coloured galloon; it might be knotted either on gauze or net, with a human hair foundation parting and crown inserted. Indeed, the variations made in this description of manufacture are of a multifarious character, as may readily be perceived. The mode of attaching these scalps to the head of the wearer is by means of diachylon, or, what is better, the Pomade Toulouse, an adhesive substance easily softened by heat, or else “wafers,” which are made sticky by a little moisture, and used as desired by the wearer.

Scalps with entire Human Hair Foundations cannot be excelled for lightness and a natural appearance. They are made of any size and pattern, with perfectly secured edges, so that no galloon or springs are necessary. They only require to be well and properly attached to the block by means of basting-stitches, and carefully—I might say artistically—knotted all over, the crown, or crown and parting, being done as the work progresses. Some exquisite pieces of workmanship are executed in this line by expert hands, their productions being well qualified to receive the name of “zephyr” which has been given to them by certain manufacturers. The mode of attachment is the same as that mentioned above, by means of cement or gum.