The Wellspring of Classicism: Verona and Soulton’s Shared Inspiration
Soulton Hall, with its rich history and fascinating connections to the Renaissance, holds more than meets the eye as we know.
Beyond its Tudor charm lies a deeper layer of inspiration, one that reaches back to the grandeur of classical Greece and the ingenuity of ancient Roman architecture.
We’d like to explore in more detail a connection that has been previously noted: the link between Soulton Hall and the renowned theatre at Epidaurus, a link that speaks volumes about the intellectual currents shaping the Hall’s design.
Here is a picture of the Roman theatre, Verona:
View of the Theatre of Verona set for opera. Public Domain.
Dating back to the late 1st century BC, the Roman theatre of Verona exists today primarily in its recovered remnants. However, the image above illustrates its current use in a way that conceptually aligns with its original intent.
These remains include/show us:
- portions of the seating (cavea and steps),
- several arcade arches from the loggias,
- stage elements, and
- the location of the chorus/orchestra area
Beyond this, ancient temple, perched atop the hill behind the audience and overlooking the stage, rose from a series of meticulously crafted terraces. This placement reflects the common practice among both Romans and ancient Greeks of integrating spiritual and theatrical experiences, recognizing their inherent connection.
Just as the Romans, and the ancient Greeks, integrated performance and spiritual activities, theatrical traditions continued to evolve through the centuries.
Shakespeare, in his play Romeo and Juliet, set in Verona, employs a Chorus, demonstrating a continued association between theatrical performance and a dedicated space for choral commentary.
ACT II
PROLOGUE
Enter Chorus– William Shakespeare, Romeo and Juliet, set in Verona
While the precise form and function of the Chorus in Shakespeare’s time differed from that of the ancient Roman theatre, the presence of a Chorus in a play set in Verona highlights the connection and association between the city and theatrical traditions, including the use of a choral element. There are also references to the chorus in Hamlet. So, just as the Roman theatre of Verona echoed the forms and principles of earlier Greek theatres, Soulton, in its own way, echoes the magnificence of Epidaurus. This fascinating link to one of the ancient world’s most celebrated theatres underscores the depth and sophistication of Sir Rowland’s vision and the power of classical inspiration.
The recent scholarly reconstruction of Soulton Hall as it existed in Old Sir Rowland’s time highlights deliberate proportional choices in Soulton’s design, choices that echo the very geometry of Epidaurus. By superimposing the dimensions of the ancient Greek theatre (the yellow lines are conceptual, representing a cavea that never physically existed at Soulton) onto the Hall’s layout, we can see how Sir Rowland subtly incorporated these classical principles into his building plans. This wasn’t mere imitation; it was a conscious effort to imbue Soulton with the timeless elegance and harmonious proportions that defined classical architecture.
The visual similarity between the contemporary, anachronistic use of the recovered Verona theatre and the conceptual design of Soulton Hall is striking. Both demonstrate a connection to and inspiration from classical ideals, albeit expressed in different ways and across different eras.
This scholarly reconstruction of Soulton Hall as it was in Old Sir Rowland’s time highlights proportions chosen to link to Classical Greece by superimposing yellow lines showing the proportions of the renowned theatre at Epidaurus. This theatre was praised by Pausanias and its geometry was described by Vitruvius in texts Old Sir Rowland would have known well.
The theatre at Epidaurus, praised by Pausanias and studied by Vitruvius, was a pinnacle of ancient Greek design.
Its sophisticated geometry and near-perfect acoustics made it a model for theatres throughout the ancient world.
Sir Rowland, well-versed in the writings of Vitruvius, would have been intimately familiar with the principles that governed Epidaurus’s construction. It’s no surprise that he sought to incorporate these same principles into Soulton Hall, creating a space that resonated with the grandeur and intellectual spirit of classical antiquity.
The great theater of Epidaurus, designed by Polykleitos the Younger in the 4th century BC, Sanctuary of Asklepeios at Epidaurus, Greece
This connection to Epidaurus reveals Sir Rowland’s deep engagement with classical thought and his desire to create a space that reflected the ideals of the Renaissance. It demonstrates that Soulton Hall wasn’t simply a product of Tudor England; it was a high five with classical Greece, with the connection woven into the project.
