Humphrey, who was portrait-painter in crayons to George III., and in 1790 was elected member of the Royal Academy, resided, in 1792 and 1793, at No. 19 Queen’s Buildings, _Knightsbridge_; but whether this was the fifth house beyond Nattes’, or the No. 19 Queen’s Buildings, now called _Brompton Road_ (Mitchell’s, a linen-draper’s shop), I am unable, after many inquiries, to determine. It will be remembered that Dr. Walcott (Peter Pindar) introduced Opie to the patronage of Humphrey, and there are many allusions to “honest Ozias,” as he was called in the contemporary literature. “But Humphrey, by whom shall your labours be told, How your colours enliven the young and the old?” is the comment of Owen Cambridge; and Hayley says, “Thy graces, Humphrey, and thy colours clear, From miniatures’ small circle disappear; May their distinguished merit still prevail, And shine with lustre on the larger scale.” A portrait of Ozias Humphrey, painted by Romney in 1772, is preserved at Knowle, a memorial of the visit of those artists to the Duke of Dorset. It has been twice engraved, and the private plate from it, executed by Caroline Watson in 1784, is a work of very high merit. In 1799 Humphrey resided at No. 13 High Row, Knightsbridge, nearly opposite to the house in which Murphy lodged, and there, with the exception of the last few months, he passed the remainder of his life. At No. 21 Queen’s Buildings (the second house beyond that occupied by Ozias Humphrey), Mr. Thomas Trotter, an ingenious engraver and draughtsman, resided in 1801. He engraved several portraits, of which the most esteemed are a head of the Rev. Stephen Whiston and a head of Lord Morpeth. Nearly the last work of his burin was a portrait of Shakspeare, patronized by George Steevens. Trotter died on the 14th February, 1803, having been prevented from following his profession in consequence of a blow on one of his eyes, accidentally received by the fall of a flower-pot from a window. He, however, obtained employment in making drawings of churches and monuments for the late Sir Richard Hoare, and other gentlemen interested in topographical illustration. Queen’s Buildings, Brompton, are divided, rather than terminated, at No. 28 (Green’s, an earthenware-shop) by New Street, leading into Hans Place—“snug Hans Place,” which possesses one house, at least, that all literary pilgrims would desire to turn out of their direct road to visit. Miss Landon, alluding to “the fascinations of Hans Place,” playfully observes, “vivid must be the imagination that could discover them— ‘Never hermit in his cell, Where repose and silence dwell, Human shape and human word Never seen and never heard,’