In 1809 the landlord, digging to form a grain pit for his cows, discovered six entire male skeletons, supposed to be remains of some who had been slain (perhaps attempting to cross the bridge) in the Civil War. The Cannon Brewhouse, a large unsightly brick building, occupied the remainder of the site of the Albert Gate houses. Formerly here stood a row of mean dwellings, with open cellars in front, and at the west end a filthy court. They were all removed for the brewhouse, the first stone of which was laid by the late Mr. James Goding, on April 10th, 1804; at the top was a huge wooden cannon. {114} In 1841 the whole was pulled down, and for ten years the ground was unoccupied; in 1851 a temporary building for the Chinese Collection of Mr. Dunn was erected, which in 1852 made way for the large mansion not yet entirely finished. The house now inhabited by Mr. Murray was, rather more than thirty years since, the residence of Lady Ann Hamilton—the faithful attendant of Caroline of Brunswick. Afterwards Mr. Chalon, and then Mr. Davis, both artists of repute, inhabited it. To Mr. Davis succeeded Mr. White, a naturalist, who had here a large collection of wild beasts and birds. I have heard he was tutor to Van Amburgh. Mr. Woodburn, when living supposed to be the first judge in matters relating to ancient art, once lived in this house. He died in 1854. The staircases still bear proof of the residence of these artists here. Captain Corbet, a comrade of St. Vincent, lived at No. 19; Ozias Humphry at 13; Maurice Morgann, opposite Sloane Street, John Taylor, the singer, Paul Bedford (for several years at 18), Mr. Justice Burton, and Mr. McCarthy, the sculptor, at 17—were all residents of High Row. Of these, Humphry will be noticed here. He was born at Honiton in 1742; and early evincing a taste for drawing, was taken from the Grammar School of his native town and sent to London, where he prosecuted his studies most assiduously. Having, after two years’ stay, been compelled to return through the death of his father, he engaged himself to Mr. Collins, a miniature painter at Bath. But in 1763, by the advice of Reynolds, he returned to London, and was brought under public notice through his auspices. For some years he practised with increasing success, and in 1773 set out for Italy with Romney; he returned in September, 1777, and his fame rapidly increased. Miniatures he had chiefly devoted himself to, but now he turned to full-portrait painting, to which Hayley in his poem addressed to Romney refers:— “Thy graces, Humphry, and thy colours clear, From miniatures’ small circle disappear: May their distinguished merit still prevail, And shine with lustre on the larger scale.”