St Luke's Hospital for Lunatics, Old Street, Finsbury, Islington, London, 1777, 1781-2 and c.1794-1811

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George Dance office drawings: the drawings of George Dance the Elder and George Dance the Younger
- Prison, courts and a lunatic hospital (5)
  - St Luke's Hospital for Lunatics, Old Street, Finsbury, Islington, London, 1777, 1781-2 and c.1794-1811 Competition design (by an unidentified architect), preliminary design by James Peacock?, contract drawings, specification and drawings of building as executed (32)

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Reference number

SM D4/2/1

Purpose

St Luke's Hospital for Lunatics, Old Street, Finsbury, Islington, London, 1777, 1781-2 and c.1794-1811

Aspect

[5] Plan of the Basement Floor of St. Lukes Hospital for Lunaticks

Scale

1/7 in to 1 ft

Inscribed

as above, N^o 1, rooms labelled including Pantry, Cutting room, Boiling room, Masters Pantry, Masters kitchen, Kitchen, Cooks room, Scullery, Laundry, Wash house, Corridor, Passage and Cellar and dimensions given Signed: Geo: Dance 1781 and I hereby acknowledge this to be one of the Drawings referred to in the / Particulars and Agreement which I have this day signed and executed / for the building the Carcase of an Hospital for Lunaticks in Old Street / in the Parish of St Luke Middlesex / Joshua Hobson / W Hobson May 30th 1782 Dated: May 30^th 1782 (as above)

Signed and dated

1781-2

Medium and dimensions

Pen and light red wash, pencil, within single ruled border on laid paper, two sheets joined, original cloth backing (740 x 2590)

Hand

See note to [SM D4/2/7]

Notes

The overall length of the 39-bay front is given as 386 feet 2¼ inches and the length of each 17-bay wing is 164 feet 8½ inches.

Level

Drawing

If you have any further information about this object, please contact us: drawings@soane.org.uk

Sir John Soane's collection includes some 30,000 architectural, design and topographical drawings which is a very important resource for scholars worldwide. His was the first architect’s collection to attempt to preserve the best in design for the architectural profession in the future, and it did so by assembling as exemplars surviving drawings by great Renaissance masters and by the leading architects in Britain in the 17th and 18th centuries and his near contemporaries such as Sir William Chambers, Robert Adam and George Dance the Younger. These drawings sit side by side with 9,000 drawings in Soane’s own hand or those of the pupils in his office, covering his early work as a student, his time in Italy and the drawings produced in the course of his architectural practice from 1780 until the 1830s.

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