The Bramall Hall solar may, at first, seem fairly unassuming.

Certainly, compared to the likes of 'The Paradise Room' and the grandiose Withdrawing Room, this particular space seems sparse; detached from the rest of the house, and with little in the way of furniture.

All of this, however, belies the fact that the solar contains one of the most remarkable examples of Tudor wall painting in Europe, let alone the country. 

The artworks are muted somewhat with age, and only cover two walls, but there is nonetheless a riot of colours, figures and allegories to be discovered upon closer inspection. 

Painted in the early 16th century, these decorations originally formed part of wedding celebrations for a Davenport family member (the Davenports owned the manor from 1370). 

The 'virtuous' and courtly aspirations of the Davenports are portrayed by the two music-playing figures (left). By way of contrast, a monkey plays a cacophonous Pipe and Tabor for two rats (top right) and a griffin lurks in the wood grain (lower right)

The underlying message of the paintings is typical of the family's Catholic leanings; the artworks show the dangers of leading a 'sinful' life, and the virtues of a 'blessed' life. 

One scene shows a sinner being attacked by two boars, for instance. Another more pointed comparison is the 'heavenly' musicians, pictured above the doorway playing a euphonic stringed instrument, contrasted with the monkey near the floor, playing a raucous pipe and tabor for two rats; this is the music of the 'high' versus the 'low'.

Further still, hiding behind foliage, blended into the wooden walls, are an array of monsters - griffins, goblins, and other beasts, perfectly placed to remind the religiously-minded viewer that evil and temptation lies around every corner. 

Still, as God-fearing as these paintings are, they might just as easily be seen from a secular perspective. 

The implication is not only that there are two ways of living, but that we also have agency in deciding which pathway to pursue…

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