EDINBURGH EXPERT WALKING TOURS - BLOG

Edinburgh has had a Jewish population since the seventeenth century, when the some of the first Jewish migrants to Scotland came as merchants, medical students or professors. 

In 1642, Edinburgh University established a position teaching 'Hebrew and Oriental Languages', for which they employed a "learned Jew" from Vienna named Julius Conradus Otto. It is thought that Otto had been born a Jew in Vienna, and later converted to Christianity. He remained in post at the university until his death in 1649. In 1665 a town council meeting refers to a man named Paulus Scialitti Rabin who had converted from Judaism to Christianity in order to be able to work as a religious teacher in the city. 

The first recorded Jewish merchant given the right to operate in Edinburgh was a man named David Brown in 1691, although this was hardly the indication of a society fully open to freedom of religion - Brown was opposed by some on the council for being a threat to the religious community here.

In 1698 a Jewish trader named Moses Mosias was denied the right to operate in the city unless he convert to Christianity, and in 1717 a Jewish merchant named Isaac Queen was granted permission to establish a business in Edinburgh only after paying a fee of £100 - equivalent to around £12,000 in modern currency!

There's a focus on self-isolating and avoiding social contact at the moment, as the Covid-19 Coronavirus is sending the world into shutdown. For many people the idea of social distancing is rather challenging one, as the modern world has drawn us into ever tighter connections with those around us.

The historic concept of quarantine was developed in Venice, as a way of protecting the city from disease arriving from trade ships, and the original word 'quarantine' derived from the Italian phrase 'forty days', which was the period of isolation they specified in order to stop the transmission of illness.

The Hermitage of Braid, as it's known, is a public park and nature reserve to the south of Edinburgh, adjacent to Blackford Hill, an elevated spot with commanding views over the city.

The valley in which the park sits was carved out by the Braid burn, or stream, and is a steep ravine with heavily wooded sides. 

The land here was owned by the de Brad family (from which the modern name 'Braid' is derived), one of whom - Henry de Brad - was sheriff of Edinburgh in the twelfth century. The surrounding forests and fields would have been populated with wild board and deer, and it would have been a popular spot for hunting.

The original estate property would have been a fortified house in a castle style, but the buildings and developments here today date from the 18th century when the area was redeveloped as a place of retreat.

Robert Burn was the architect who designed and built the Hermitage House in the 1780s, replete with a pump system to bring fresh running water from the Braid burn, and an ice house, a separate feature dug into the rock of the landscape in which to store ice from the winter for keeping food fresh over the summer months.

There's also an original stable block, and a doocot - Scots for a dovecot - which would have been home to pigeons that would have been plentiful supply of meat to the estate, along with a walled garden in which fresh herbs and vegetables would have been grown.

The Old Town of Edinburgh is the area that most visitors think of as being the 'historic' bit of the city, and relatively few tourists take the time to check out the New Town...

I think the name puts them off, and people don't realise that the 'new' part of Edinburgh is still over 250 years old! As such it has over two centuries of history to explore, and offers a fantastic contrast to the Old Town and Royal Mile area.

For most of its history the city of Edinburgh was clustered along a narrow strip of rock rising to a ridge with a valley on either side of it. That ridge is still there - the Royal Mile runs along it - as are the valleys, which for a long time formed the northern and southern boundaries of the city.

But by the 1740s the population of Edinburgh was rising faster than ever, and this city with an area of just a half square mile (1.3 square kilometres) suddenly found itself with a population in excess of 50,000 people. Conditions in the old city were squalid and filthy, with as many as a thousand people living on each of the narrow lanes or 'closes' along the main street.

Plans were drawn up to formally grow the city for the first time in its history, to spread to the north onto land which was dotted with fields and farms, an area marked on maps of the time as Bearford's (or Barefoot's) Park. This land was bought up from individual landowners, and a comprehensive plan was drawn up to build a whole new town.

In 1767 development started in the area known today as St Andrew Square. This large open space was originally a private garden for the wealth people who lived around the square - all of the New Town was planned as residential property, to allow the wealthy and high-status residents of the Old Town to start a new life away from the the filth and overcrowding of the original city.

The plan for the New Town had been drawn up by a young architect called James Craig, and his vision was a grid system of three broad streets running east-west, bisected by smaller streets running north-south. It was the first example of coordinated town planning in the UK, and his grid system - although it seems common in modern planning - was a truly creative approach to the system of city development.

It took developers nearly 50 years to build the first phase of the New Town, spreading westwards from St Andrew Square, with the housing around Charlotte Square being completed in the 1820s. But the city continued growing in stages - seven major phases of development in all - spreading all the way out to the west, the north, and later to the east as well. Today everything north of Princes Street is broadly considered to be New Town.

Today the New Town is the more contemporary, local side of Edinburgh, with many local shops, offices, restaurants and bars, and the streets here have a different feel from the more tourist-focused side of the city, in the Old Town along the Royal Mile. 

The centre of Edinburgh is protected as a UNESCO World Heritage Site, and the bulk of this protected area covers the New Town of Edinburgh. 

I offer a specific New Town tour, focusing on this less visited side of the city, which features the Dean Village and Calton Hill along with a stroll along some of the (still) grand residential streets of the Georgian-era Edinburgh, or we can combine Old and New in a customised tour to suit your interests.

Not all of Edinburgh's historical figures belong to the dim and distant past - many notable residents have walked the streets within living memory and offer a more modern sense of Edinburgh's historical influences.

In a city noted for its literary and artistic influences, one figure had a particular impact on the world of modern art. Born on 7 March 1924, Eduardo Paolozzi was an early proponent of the Pop Art style, and may even have given the movement its name from one of his colourful early collages.

Paolozzi was born in Leith, to parents who were Italian immigrants who had settled in the city early in the twentieth century. The city today retains many of its links to these immigrant families who brought a fresh new vision of food, art, music and culture to Scotland - Paolozzi's parents ran an ice cream and confectionery shop in Leith, and many of the fish and chip shops around the city today are still family-run, while shops like the Valvona and Crolla delicatessen have become local institutions.

This isn't to say that the immigrant families were always treated well in Scotland. Notably in 1940, when Italy became a British enemy during the Second World War, many Italian men and boys across the country were forcibly detained in local internment camps, and a teenage Paolozzi spent three months in Edinburgh's Saughton prison. His fate was rather better than that of many Italian men at that time, however, who had also been detained and were being transported to an internment camp in Canada. The ship they were on, the Arandora Star, was torpedoed by German u-boats in the North Atlantic, and over 800 men perished, 446 of them Italian detainees, including Paolozzi's father and grandfather.

In 1943, Paolozzi joined Edinburgh College of Art, and later studied fine art at University College London. In Paris at the end of the 1940s Paolozzi associated with Alberto Giacometti and Georges Braque, both of whom became major figures in the world of post-war sculpture and painting. ​

​On his return to London, Paolozzi established his studio in London's district of Chelsea, where he began a pioneering approach to assembling collages and printing. In 1952 he was a founder of the Independent Group, whose work and vision would later be a significant influence on the American pop art movement of the late 1950s and 60s. It was Paolozzi's 1947 collage of images and advertising text snipped from American magazines, entitled I Was a Rich Man's Plaything, which influenced the bold, colourful style of pop art, and prominently at the top of the piece is the word 'pop' itself.

Paolozzi was awarded a CBE in 1968, and was knighted by the Queen in 1989. He had already been appointed to the position of Queen's Sculptor in Ordinary in Scotland, a role originally created by Queen Victoria for Edinburgh artist John Steell in the 19th century, and a position currently held by another Edinburgh sculptor, Alexander Stoddart.

Paolozzi's extensive output took in a wide range of media, from sculpture and collage to print and mosaic, and some of his public artworks can be found today across the world, from the walls of London tube stations to the foyer of the British Library.

In Edinburgh you can spot some of his pieces to the east of the city centre, outside St Mary's Cathedral on Picardy Place, where huge sculptures of a foot and a hand are mounted on the pavement, entitled The Manuscript of Monte Cassino. 

You can also find some of his statues in the lower levels of the National Museum of Scotland, and around the University of Edinburgh campus at King's Buildings and their central library on George Square.

Paolozzi donated much of his work and material to the National Galleries of Scotland in 1994, and in the former Dean Gallery (now named Modern Two) you can see a recreation of his studio, along with other works including a major figure of an iron giant named Vulcan who stands in the gallery's cafe. 

Paolozzi died in London in 2005.

Find out more about Edinburgh's major figures of art and culture with my private city walking tours.