Summary

William Andrews At the Sign of the Barber's Pole…

The hair of the nostrils cut away, and everything done in order, comely to behold. The last action in the tragedy is the payment of money; and lest these cunning barbers might seem unconscionable in asking much for their pains, they are of such a shameful modesty as they will ask nothing at all, but, standing to the courtesy and liberality of the giver, they will receive all that comes, how much soever it be, not giving any again, I warrant you; for take a barber with that fault, and strike off his head.
Source: Gutenberg

William Andrews At the Sign of the Barber's Pole…

At this period, indeed, the barber-surgeon was a man of considerable importance. His shop was the gathering-place of idle gallants, who came to have their sword-wounds dressed after street frays. The gittern, or guitar, lay on the counter, and this was played by a customer to pass away the time until his turn came to have his hair trimmed, his beard starched, his mustachios curled, and his love-locks tied up. We give a picture of a barber's shop at this period; the place appears more like a museum than an establishment for conducting business.
Source: Gutenberg

William Andrews At the Sign of the Barber's Pole…

In some instances the wig appears much out of place, and a notable example is that given in the portrait by Kneller, of George, Earl of Albemarle. He is dressed in armour, and wearing a long flowing wig. Anything more absurd could scarcely be conceived.
The beau of the period when the wig was popular carried in his pocket beautifully made combs, and in his box at the play, or in other places, combed his periwig, and rendered himself irresistible to the ladies. Making love seems to have been the chief aim of his life.
Source: Gutenberg

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