In this year the houses of the north end of Newman Street commanded a view of the fields over hillocks of ground now occupied by Norfolk Street,[84] and the north and east outer sides of Middlesex Hospital garden-wall were entirely exposed. From the east end of Union Street, where Locatelli the sculptor subsequently had his studio,[85] the ground was very deep; and much about that spot, more to the east, stood a cottage with a garden before it, with its front to the south. This was kept by John Smith, one of Mr. Wilton the sculptor’s oldest labourers; immediately behind this cottage was a rope-walk, which extended north to a considerable distance under the shade of two magnificent rows of elms. Here I have often seen Richard Wilson the landscape painter and Baretti walk.[86] At the right-hand side of this rope-walk there was a pathway on a bank, commencing from the site of the foundation of the present workhouse, belonging to St. Paul’s, Covent Garden. This house was then planned out, and finished in the ensuing year, according to the date on its western front. The bank extended northwards to the “Farthing Pie House,” now the sign of the “Green Man,” and was kept by a person of the name of Price, a famous player on the salt-box.[87] Of this highly respectable publican there is an excellent mezzotinto engraving by Jones, after a picture by Lawranson. It commanded views of the old “Queen’s Head and Artichoke,” the old “Jew’s-Harp House,” and the distant hills of Highgate, Hampstead, Primrose, and Harrow. I was then in my eighth year, and frequently played at trap-ball between the above-mentioned sombre elms. The south and east ends of Queen Anne[88] and Marylebone Streets were then unbuilt, and the space consisted of fields to the west corner of Tottenham Court Road; thence to the extreme of High Street, Marylebone Gardens, Marylebone Bason, and another pond called Cockney-ladle.[89]