By Richard Oram
Among the most popular “show and tell” items at the Ransom Center is the collection of famous people’s hair compiled by the Romantic poet and essayist Leigh Hunt. It features locks from 21 authors and statesmen, including John Milton, John Keats, and George Washington.
Scattered about the collections are many other hair samples belonging to various celebrities. The most important were taken from Charlotte Brontë (brunette), Marie Antoinette (a blond lock), and Edgar Allan Poe (a black braid, kept in a locket he gave to his sometime girlfriend Elmira Shelton). When the latter’s hair was exhibited last year for his 200th birthday, it swiftly became one of the most popular items, with younger visitors calling it “creepy.”
There is just something about hair. Composed mostly of the tough protein keratin, it survives practically forever, along with bones (thus Donne’s “bracelet of bright hair about the bone”). The Victorians had a particular obsession with hair, as documented in a recent study by Galia Ofek in her book Representations of Hair in Victorian Literature and Culture (Ashgate, 2009). In an age in which death was omnipresent, hair kept in lockets or bracelets was a way of remembering loved ones. It also had a certain fetishistic component for the Pre-Raphaelities, whose good (Millais’s Mariana) and bad (Holman Hunt’s Isabella) subjects usually had hyperactive follicles.
I had often wondered why Leigh Hunt formed the collection and how it came to us. After a bit of digging, I discovered that John L. Waltman had answered my questions about the hair collection in an obscure journal article back in 1980. Hunt’s interest in hair is well documented. He mentions the collection in one of his “Wishing Cap” essays (ca. 1830s) and wrote three poems on Milton’s hair. Part of the collection derived from Dr. Johnson’s friend John Hoole, although how and when they came to Hunt is not exactly clear. Later locks were clipped from Hunt’s poet friends, such as John Keats, Percy Shelley, and Robert Browning.
Along with Milton’s hair, which may have been removed when he was disinterred in 1790, a single golden hair from Lucretia Borgia’s head was Hunt’s prize. He described it as “sparkl[ing] in the sun as if it had been cut yesterday.” Lord Byron stole a portion of a lock in the Ambrosian Library in Milan and presented it to Hunt with a quotation from Alexander Pope: “and beauty draws us with a single hair.”
The Hunt hair collection, minus Lucretia Borgia’s strand, stayed in the Hunt family until 1921, when it was sold at Sotheby’s and purchased by Mrs. Miriam Lutcher Stark, who in turn gave it to The University of Texas at Austin. Until the late 1990s, when the album was rehoused by the Center’s Conservation department, it was still possible to touch the hair of your favorite literary celebrity; today, one can only gawk.
While the authenticity of some of the earlier locks (notably Milton’s) is in some doubt, those of Hunt’s contemporaries are presumably all genuine. They look exactly as one imagines they should: Elizabeth Barrett Browning’s curls rather like the coat of her spaniel, Flush; Keats’s wavy and luxuriantly brown; the older Wordsworth’s hair blondish, thin, and flecked with gray.
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