Pope’s own note to the last line reads: “Ridicule the wretched taste of carving large periwigs on bustos, of which there are several vile examples among the tombs of Westminster and elsewhere.” Pope’s real victim, Hopkins, was “Vulture” Hopkins, who died in his house in Broad Street in 1732, leaving a fortune of £300,000 with peculiar conditions attached. Several thousand pounds were expended on his funeral. [396] Thomas Dawson, Viscount--not Earl--of Cremorne, died 1813. [397] The full-dress wigs of English judges are the nearest survival of the great Queen Anne wigs familiar in the portraits of these men. They are made of white horse hair, elaborately treated. [398] Combing the wig in the theatre and the drawing-room was a habit, like twirling the moustache. Dryden pictures the wits rising as one man in the pit of the theatre and beginning to comb their wigs while they stared at a new masked beauty. “It became the mark of a young man of _ton_ to be seen combing his periwig in the Mall, or at the theatre” (Fairholt: _Costume in England_). Hats were not worn on perukes that cost forty or fifty pounds. In Wycherley’s _Love in a Wood_ (1672) we read: “A lodging is as unnecessary a thing to a widow that has a coach, as a hat to a man that has a good peruke.” [399] It is said that, as a rule, Lely’s male portraits of the Charles II. period can be distinguished at once from Kneller’s portraits of the Court of William III., by observing that in the former the ends of the wig descend on the chest, in the latter they fall behind the shoulders. [400] The distinction is particularly important in the case of Cibber, whose wig in the part of Sir Fopling Flutter was so admired that he regularly had it brought in a sedan-chair to the footlights, where he publicly donned it with great applause. Cibber’s modest private wig can be studied in Roubiliac’s coloured bust in the National Portrait Gallery. [401] John Wallis, D.D. (1616-1703), a distinguished mathematician as well as theologian. [402] Several particulars of Johnson’s wigs are given by Boswell. The improvements he made in his dress through the influence of Mrs. Thrale included “a Paris-made wig of handsome construction.” “In general,” says Croker, “his wigs were very shabby, and their fore parts were burned away by the near approach of the candle, which his short-sightedness rendered necessary in reading. At Streatham Mrs. Thrale’s butler always kept a better wig in his own hands, with which he met Johnson at the parlour door, when the bell had called him down to dinner; and this ludicrous ceremony was performed every day.”