why this was an obvious case of plagiarism, and why, although some modification was needed since the competition as the dome was now to be for a reading room rather than a gallery, the result was poorer than it need be: "How mean their dumpy dome-room is" Hosking opined. The museum did not agree that Hosking's original competition design had been a significant influence on their eventual approach. The credit for the original idea was claimed by its librarian Panizzi, who though unqualified as an architect or indeed in librarianship, was very influential and well-connected, being a protege of the man who became Lord chancellor, Lord Braughton. Panizzi secured the services of Sydney Smirke, the son of the museum's previous architect Sir Robert Smirke to build the domed Reading Room and denied having seen Hosking's original domed design, although Smirke admitted this. Some while after publication of Hosking's controversial book, when Panizzi and Smirke fell out publicly over what their respective contributions were to the design, Sydney Smirke wrote that Panizzi had originally proposed "a flat, low building" and he had persuaded Panizzi of the merits of a domed circular design. Hosking, thinking no doubt of the less personality-driven approach that could have been achieved by the earlier "open" competition, was left with his own reflections on the matter: from his perspective there was much to do to raise the standard of conduct of public life in London institutions. Faking Literature by K. K. Ruthven, Cambridge Univ. Press, published in 2001, empathises with Hosking and looks at the long history of plagiarism. Legacy In his latter days, with a University Professorship and scholarly disposition, a flourishing reputation as an author, an authority on bridge design, a small but distinguished portfolio of church and cemetery design, and appointments as a professional expert for official inquiries into town planning improvements and building standards, Hosking was one of the referees for the Office of Metropolitan Buildings overlooking the Thames in central London at 6 Adelphi Terrace, Charing Cross. Whilst he left a rich legacy of scholarly reports and books, making a valuable contribution to nineteenth century planning and architecture, he had taken a high moral view of public life and his crossing of swords and rebuffs have left a complex legacy for biographers to unravel. Sir William Tite noted that Hosking "wisely refused to recognise the modern distinction between the professions of architect