The next house to this on the eastern side was occupied for many years by the artistic family of the Lawsons. Thomas Attwood, a pupil of Mozart and himself a great composer, died there in 1838. The house had formerly a magnificent garden, to the mulberries of which Hazlitt makes allusion in one of his essays. No. 18 was the home of the famous Don Saltero's museum. This man, correctly Salter, was a servant of Sir Hans Sloane, and his collection was formed from the overflowings of his master's. Some of the curiosities dispersed by the sale in 1799 are still to be seen in the houses of Chelsea families in the form of petrified seaweed and shells. The museum was to attract people to the building, which was also a coffee-house; this was at that time something of a novelty. It was first opened in 1695. Sir Richard Steele, in the _Tatler_, says: "When I came into the coffee-house I had not time to salute the company before my eye was diverted by ten thousand gimcracks round the room and on the ceiling." Catalogues of the curiosities are still extant, and one of them is preserved in the Chelsea Public Library. Of the remaining houses none have associations. The originals were too small for the requirements of those who wished to live in such an expensive situation, and within the last score of years they have been pulled down and others built on their sites. One of these so destroyed was called the Gothic House; in it lived Count D'Orsay, and it was most beautifully finished both inside and out. The decorative work was executed by Pugin, and has been described by those who remember it as gorgeous. In another there was a beautiful Chippendale staircase, which, it is to be feared, was ruthlessly chopped up. In the last house of all was an elaborate ceiling after the style of Wedgwood. The doorway of this house is now at No. 1. The garden which lies in front of these houses adds much to their picturesqueness in summer by showing the glimpses of old walls and red brick through curtains of green leaves. In it, opposite to the house where he used to live, there is a gray granite fountain to the memory of Rossetti. It is surmounted by a bronze alto-relievo bust modelled by Mr. F. Madox Brown. A district old enough to be squalid, but not old enough to be interesting, is enclosed by Smith and Manor Streets, running at right angles to the Embankment. New red-brick mansions at the end of Flood Street indicate that the miserable plaster-fronted houses will not be allowed to have their own way much longer. No street has changed its name so frequently as Flood Street. It was first called Pound Lane, from the parish pound that stood at the south end; it then became Robinson's Lane; in 1838 it is marked as Queen Street; and in 1865 it was finally turned into Flood Street, from L. T. Flood, a parish benefactor, in whose memory a service is still held every year in St. Luke's Church.