GROSVENOR _square_, is bounded on the north by Oxford road; on the east by Hanover buildings; on the south by Mayfair; and on the west by Hyde Park, It is however entirely surrounded with buildings, which are very magnificent, though the fronts are far from being uniform, some of them being entirely of stone, others of brick and stone, and others of rubbed brick, with only their quoins, facios, windows and door cases of stone. Some of them are adorned with stone columns of the several orders, while others have only plain fronts. Indeed here is the greatest variety of fine buildings that are any where to be met with in so small a compass, and they are so far uniform, as to be all sashed and to be pretty near of an equal height. The area of this square contains about five acres, and in the middle is a large garden surrounded with palisado pales placed upon a circular dwarf wall. This garden is laid out into walks, and adorned with an equestrian statue of King George I. gilt, which stands upon a pedestal in the center. This square and the adjacent places are thus named from Sir Thomas Grosvenor. GROSVENOR _street_, 1. Horse ferry, Westminster.† 2. New Bond street.† A list of Pictures that are at present hung up in the two first floors of the house of Paul Methuen, Esq; in Grosvenor street. N. B. In this list, after the description of the pictures, the names of those by whom they are thought to be painted are added, for the information of such as may be great admirers of the art of painting, and lovers of pictures, and yet may not have knowledge or experience enough in that art to distinguish the several hands by which they are done. But as it is very possible, and even probable, that the owner of them may, for want of sufficient skill, have been mistaken in the naming of the authors of some of them; tho’ at the same time he begs it may be believed, that he has done nothing of that kind, without such reasons for it, as appeared very good to him; nor has been guided in it by partiality to the pictures, or any other consideration, but regard to truth, which he always thought should take place of every thing: so those who are better judges, are at liberty to name the pictures as they please, and restore them to the authors to which they may think they really belong. On the FIRST FLOOR. In the hall and stair case. Over the chimney. A naked boy blowing bubbles and treading on a death’s head, representing Vanity, by Elizabetha Sirani. Near the street door. A large picture of dogs and foxes, by Peter Sneyders. Over the door that goes into the first parlour. A man’s head, by Giuseppe de Ribera, commonly call’d Il Spagnoletto. On the landing place. A large picture of David and Abigail, by Sir Peter Paul Rubens.