Sir Rowland Hill’s project at Soulton Hall draws inspiration from a rich tapestry of classical influences, as explored in detail on previous blog posts.
This post examines a conspicuous piece of evidence within the code: the careful act of preservation, undertaken during a decommissioning moment, as seen in the bricking up of the massive east gate leading into the Epidaurus Court at the end of the lost avenue.
Look at this section of wall, note the wierly slight buttresses and the different bricks used, we will come back to that. Note also the Soulton Hall corps de logis in the centre of the wall between the buttresses.
The massive gate into the Epidaurus Court at Soulton Hall note the original 1550s brickwork on the right. The “buttresses” flanking the lost opening are actually piers – remnants of the gateway that was bricked up in the 1780s.
For nearly 240 years, experiencing the entrance to Soulton Hall’s Epidaurus Court as Sir Rowland Hill intended has not been possible. Thankfully, thanks to our consultants Byrga Geniht Ltd, we have access to a scholarly reconstruction of the original design.
Scholarly reconstruction of Soulton Hall in accession created by James D. Wenn and James R. Syrett of Byrga Geniht Ltd for Soulton Hall in 2024
Fortunately, our understanding is further enriched by inviting you to apply attention to these of late 19th-century pictures depicting the lost avenue.
The Lost Avenue for Soulton Hall: part of the Sir Rowland Hill concept it adressed the rising Easter sun, began at a well of
catharsis and came to and end at a gate into the Soulton presinct closed up in the 1780s.
The Lost Avenue for Soulton Hall: part of the Sir Rowland Hill concept it adressed the rising Easter sun, began at a well of catharsis and came to and end at a gate into the Soulton presinct closed up in the 1780s.
The Theatre of Epidaurus is often hailed as the pinnacle of ancient Greek theatre architecture. It was described by Pausanias, a Greek traveler and geographer who lived in the 2nd century CE.
The bricked-up gateway to Soulton Hall’s Epidaurus Court reflects a deliberate shift in the space’s purpose and design. Soulton moved away from its prominent role as a House of State after the C17th and the Tudor era.
The bricking up of the monumental gate leading to the Epidaurus Court at Soulton Hall signified a deliberate shift in the space’s symbolism and power. This transformation aimed to reduce the house’s association with potentially subversive ideas, particularly its connection to democracy through the Geneva Bible. The closure occurred during a politically turbulent period in English history marked by movements like Chartism.
Laying it to garden aimed to reduce the house’s valency in a radical time.
Moreover, Sir Rowlad Hill’s cult status inthe 17th and 18th centruries attracted considerable public interest, not all of which the family could sustain while maintainig its welfare.
This bricked-up gateway is therfore also an output for an apitie for increased privacy on he part of our family.
This is also reflected by the deveoplent of the hawkstone follies as a massive tourist atraction and the destination of th eenglish grand tour, not for nothing is Sir Rowland Hill stood on a colum pointing at Soulton and holding Magana Carter. The hawkstone column is intentionally 110foot tall: twice the hight of the soulton cube.
Rowland Hill Monument, Hawkstone Park
There is one further thing to bring your attention to about this brickwork.
Take a closer look at the fascinating purple bricks used in the 1550s section of the Epidaurus Court. Notice the presence of corbeling resembling steps within the bricks themselves.
The purple Tudor bricks here (1550s) have intriguing indentations resembling steps. These are not structural, but represent the steps to Solomon’s Temple
These are not structural elements. They are deliberate design choice. They run only to the (also bricked up) wicket gate.
They represent the steps leading to Solomon’s Temple, further emphasizing Soulton Hall’s connection to this biblical symbol.
Élisée Reclus – Extrait de “L’Homme et la Terre”
temple de salomon reconstitué (cc)
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The above contains consultancy outputs from BYRGA GENIHT Ltd.
