Opposite old Salisbury House stood a turnpike, and the tradition in the lane is that the Earl of Salisbury obtained its removal as a nuisance. At that time the church was literally in the fields. The turnpike-house stood (circa 1760) on the site of No. 28, afterwards (in 1828) Pullen’s wine-vaults. The Westminster Fire Office was first established in St. Martin’s Lane, between Chandos Street and May’s Buildings. The White Horse livery-stables were originally tea-gardens,[465] and south of these was a hop-garden. The oldest house in the lane overhung the White Horse stables, and was standing in 1828. No. 60 was formerly Chippendale’s, the great upholsterer and cabinet-maker, whose folio work was the great authority in the trade before Mr. Hope’s classic style overthrew for a time that of Louis Quatorze. No. 63 formerly led to Roubilliac’s studio. Here, in 1828, the Sunday paper _The Watchman_, was printed. It must have been here, in the sculptor’s time, that Garrick, coming to see how his Shakspere statue progressed, drew out a two-foot rule, and put on a tragic and threatening face to frighten a great red-headed Yorkshireman, who was sawing marble for Roubilliac; but who, to his surprise, merely rolled his quid, and coolly said, “What trick are you after next, my little master?” Upon the honest sculptor’s death, Read, one of his pupils, a conceited pretender, took the premises in 1762, and advertised himself as “Mr. Roubilliac’s successor.” Read executed the poor monuments of the Duchess of Northumberland and of Admiral Tyrrell, now in Westminster Abbey. His master used to say to Read when he was bragging, “Ven you do de monument, den de varld vill see vot von d-- ting you vill make.” Nollekens used to say of the admiral’s monument, “That figure going to heaven out of the sea looks for all the world as if it were hanging from a gallows with a rope round its neck.”[466] No. 70 was formerly the house where Mr. Hone held his exhibition when his picture of “The Conjuror,” intended to ridicule Sir Joshua Reynolds as a plagiarist, and to insult Miss Angelica Kaufmann, was refused admittance at Somerset House. Mr. Nathanael Hone was a miniature-painter on enamel, who attempted oil pictures and grew envious of Reynolds. Hone was a tall, pompous, big, erect man, who wore a broad brimmed hat and a lapelled coat, punctiliously buttoned up to his chin. He walked with a measured, stately step, and spoke with an air of great self-importance--in this sort of way: “Joseph Nollekens, Esq., R.A., how--do--you--do?”[467]