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  • image SM 13/1/4

Reference number

SM 13/1/4


[3] Competition design No.3 with motto 'Mihi turpe relinqui est'


Section on the Line A,B,C,D,E,F and Elevation next Old Street


bar scale of 1/14 in to 1 ft


as above and (on parapet over entrance) ST LUKES HOSPITAL / FOR LVNATICS. No3 (competition number added). Mihi turpe relinqui est [it is shameful for me to be left behind] (competition motto)

Signed and dated

  • datable to before 31 May 1777

Medium and dimensions

Pen with sepia and (section) pink washes, shaded within double ruled and wash border on laid paper with one fold mark (643 x 1000)


Robert Baldwin (fl.1762-c.1804)


J Whatman


Robert Baldwin's hand can be seen in the inscribed titles as well as the rendering of the elevation and section of SM 13/1/6. It has been suggested (Professor du Prey, in conversation February 2009) that the room labels on SM 13/1/6 and SM 13/1/5 were added by Soane who may have drawn the plans too. It is not uncommon to have several hands making a competition drawing.

The plan could be described as a stretched half-ellipse (cut longitudinally). The elevation has a Pantheon-type dome in the centre over a three-bay, four-storey frontispiece with three Wyatt windows, the centre one with a pair of reclining statues. The giant, two-storey windows at each end have a pair of Greek Doric columns with plain shafts and without bases.


P.du Prey, John Soane: the making of an architect, 1982. Chapter 3 (Architecture for madness: the St Luke's competition)



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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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