The Earl of Southampton granted land for five almshouses in St. Giles’s in 1656.[641] The site was in Broad Street, nearly at the north end of Monmouth and King Streets, where they stood until 1782, at which period they were pulled down to widen the road. The new almshouses were erected in a close, low, and unhealthy spot in Lewknor’s Lane. In the year 1661 Mr. William Shelton left lands for a school for fifty children in Parker’s Lane, between Drury Lane and Little Queen Street. The tenements, before he bought them, had been in the occupation of the Dutch ambassador. The premises were poor houses, and a coach-house and stables in the occupation of Lord Halifax. In 1687, the funds proving inadequate, the school was discontinued; but in 1815, after being in abeyance for fifty-three years, it was re-opened in Lloyd’s Court.[642] The select vestry of St. Giles’s was much badgered in 1828 by the excluded parishioners. There were endless errors in the accounts, and items amounting to £90,000 were found entered only in pencil. The special pleas put in by the attorneys of the vestry covered 175 folios of writing. Hog Lane, built in 1680, was rechristened in 1762 Crown Street, as an inscription on a stone let into the wall of a house at the corner of Rose Street intimates.[643] Strype calls it a “place not over well built or inhabited.” The Greeks had a church here, afterwards a French refugee place of worship, and subsequently an Independent chapel. It stood on the west side of the lane, a few doors from Compton Street; and its site is now occupied by St. Mary’s Church and clergy-house. Hogarth laid the scene of his “Noon” in Hog Lane, at the door of this chapel; but the houses being reversed in the engraving, the truth of the picture is destroyed. The background contains a view of St. Giles’s Church. The painter delighted in ridiculing the fantastic airs of the poor French gentry, and showed no kindly sympathy with their honest poverty and their sufferings. It was to St. Giles’s that Hogarth came to study poverty and also vice. A scene of his “Harlot’s Progress” is in Drury Lane, close by. Tom Nero, in the “Four Stages of Cruelty,” is a St. Giles’s charity-boy, and we see him in the first stage tormenting a dog near the church. Hogarth’s “Gin Street” is situated in St. Giles’s. The scenes of all the most hideous and painful of his works are in this district.