On 8 November 1736, Scotland's first theatre formally opened, on Carrubber's Close in Edinburgh's Old Town. It had been established by the poet and librarian Allan Ramsay, at what he described as "great expense", for the purpose of staging entertainments and performances for a local audience.
The life of the theatre was shortlived, as by the following year the venue on Carrubber's Close had closed, forced out of business as a result of campaigning and opposition from religious leaders in the city.
For a long time, the performing arts were closely linked with issues of vice and depravity, had sinful associations with excess and debauchery, and attracted a dubious clientele. Many influential figures decried the harmful, degenerate influence that theatres had on their communities, and it's no surprise that Ramsay's venture was forced out of business so speedily.
Of course, the closure of the theatre on Carrubber's Close wasn't the end of the performing arts in Edinburgh, and today the city boasts the world's largest arts festival every summer - and at a time when many arts venues and artists are experiencing the devastating effects of the pandemic lockdown, here's my celebration of some of Edinburgh other important theatres, past and present.
OLD PLAYHOUSE CLOSE
A decade after Allan Ramsay's theatre closed, another playhouse was established in Edinburgh's Old Town, just a short way further down the Royal Mile.
Crucially, this venue was outside of Edinburgh at the time, in a town called Canongate which lay just beyond the original city walls.
In the 1750s, this was the venue for a famous production by John Home called Douglas, a romantic tragedy set in the Scottish Highlands. At its first performance it was received with such enthusiasm and positivity, a cry of "Whaur's yer Wullie Shakespeare noo?" was heard in the crowd at the curtain call.
Home was a church minister at the time, and the outcry at his association with the dreaded performing arts forced his resignation from the church.
Douglas was restaged in London in 1757, where it was well received by a non-domestic audience, and was followed with several other classical-themed plays. Home later became an MP for Edinburgh, and died in 1808.
The theatre on Playhouse Close closed in 1769.
Another long-gone theatre in Edinburgh was the Theatre Royal, which stood on a square named Shakespeare Square, between 1769 and 1859. Shakespeare Square was at the east end of Princes Street in the New Town, near the junction with North Bridge, where the former General Post Office building stands today.
The foundation stone for the theatre was laid by Prince Albert, Queen Victoria's prince consort in 1863, on the same day he laid the foundation stone for what is today the National Museum of Scotland, on Chambers Street.
When the venue closed after 90 years, the title of Theatre Royal was then passed to a second building, previously known as the Queen's Theatre and Operetta House, on nearby Broughton Street.
This theatre was immediately adjacent to St Mary's Cathedral, where the John Lewis department store stands today, and seemed curiously vulnerable to fire - it was destroyed by fire and rebuilt no fewer than three times, before being demolished after catching fire for the last time in 1946.
ROYAL LYCEUM THEATRE
One of the most popular local theatres in the city is the Royal Lyceum, which opened in 1883.
A classic proscenium arch theatre, the auditorium here is one of the most beautiful of all the theatres across Scotland.
The theatre has a permanent creative company dedicated to producing live theatre created in Edinburgh, attracting actors, designers and directors from all around the world.
Casts here have included performers like Sam Heughan (Outlander), David Tennant (Doctor Who) and Brian Cox (the original Hannibal Lektor in Manhunter), and designers including Olivier and Tony-award winning Bunny Christie.
The Lyceum is especially renowned for its work attracting younger audiences, including an annual Christmas show and its year-round Youth Theatre program.
Another classic proscenium arch theatre, the foundation of the red sandstone building of the King's Theatre was laid in 1906 by Andrew Carnegie, at one time the richest man in America.
The King's was part of the traditional music hall circuit of the early- to mid-twentieth century. This was a key part of the theatre tradition in the UK, where comedians, singers, dancers and novelty acts would travel the country performing at venues. Scottish comedians like Rikki Fulton, Stanley Baxter, and Jimmy Logan all starred at the King's theatre in their careers.
More recently, the King's has become one of the city's receiving houses, hosting touring productions for a week at a time throughout the year. A major renovation in 2013 saw improved access to what had become a challenging building for audiences to get into, and further development is planned for the near future.
A beautiful mural on the decorative ceiling rose was painted by the artist and playwright John Byrne.
EDINBURGH FESTIVAL THEATRE
The Festival Theatre is the second largest auditorium in the city, and the longest established theatre site, having had a venue on it since 1830.
The former Empire Theatre was later turned into a cinema and bingo hall, before returning to use as a theatre in 1994.
In 1911 the Empire Theatre was the site of a devastating stage fire which broke out during a performance by a magician named the Great Lafayette, during which 11 people were killed - including the magician himself, his illusion body double, and a lion featured in his act.
In the aftermath of this fire, a new UK law was introduced which required a fire curtain to be installed in all theatres, and which was required to be proven to be functional at every performance. This resulted in the practice of raising and lowering a fire curtain or safety curtain during every live theatre performance to this day.
Today the Festival Theatre is a venue for large scale touring productions, including international ballet and opera companies, and West End musicals during their UK tours.
The Traverse is one of the city's most important creative spaces, being dedicated to new writing. Originally established in 1963 by a group of people including John Calder - who was Samuel Beckett's publisher in the UK - and Richard Demarco, who remains an important and active artist and writer in Edinburgh.
The original theatre space was located on a lane off the Lawnmarket before moving to a more formal location in the Grassmarket, until it moved to the modern development from which it still operates today in 1992.
The Traverse become a major hub during the annual Edinburgh Festival Fringe, and is well regarded as a venue that nurtures and develops the work of new Scottish writers.
The Edinburgh Playhouse is the largest theatre venue in the UK by number of seats, with room for just over 3,000 audience members at every performance.
The building opened in 1929 as a cinema, and today operates as a receiving house for large scale touring productions of West End musicals, international opera and ballet companies, and stand-up comedy.
Explore more of Edinburgh's theatres and arts venues with my private city walking tours!
Robert Stodart Lorimer was born in Edinburgh on 4 November 1864.
His name isn't as well known as some of the architects like Robert Adam or William Playfair, but Lorimer was active across the UK and further afield during the early twentieth century, and found a reliable supply of work after the First World War as a designer of graves, monuments and war memorials. He also worked extensively in domestic settings, creating not the grand public buildings of better known architects, but contributing to his clients' domestic experience instead.
He was a notoriously frugal figure who never had more than four people working in his architecture practice, and resented having to buy coal to heat the offices during the winter months. He could also be a difficult man to work with, and lost several commissions because of his lack of tact or his insistence on features and elements that his clients didn't like.
One of his chief draughtsmen once commented that Lorimer was "terrible with clients", and remembered that during one argument with a client was heard to say, "'This house will be remembered because I designed it, not because you paid for it"...!
But some of Lorimer's greatest works were public buildings and features in Edinburgh. Here are some highlights.
This octagonal feature on the south-east corner of the building is filled with incredibly ornate decoration, with every surface covered in carved wooden panels with the crests of major Scottish figures around the space. It is in the Thistle Chapel that the Queen awards the chivalric title of Order of the Thistle, a historic royal honour dating back to the seventeenth century.
It's a small space, and not always open to the public (which is why I don't have photos of it!) but is worth visiting if you can get access during a visit - it is in the Thistle Chapel that you'll find the famous carving of an angel playing bagpipes! See if you can spot it amongst all the other decorations and carvings.
King Robert the Bruce and William Wallace stand on either side of the drawbridge entrance into the castle, cast by the sculptor Alexander Carrick.
But it's inside the castle itself that Lorimer's greatest work is visited by thousands of visitors a year...
Lorimer utilised a part of an existing barracks block on the site at the top of Edinburgh Castle for his plans, which today are a quiet and peaceful place of reverence and respect.
Rolls of the names of the dead are kept in books for visitors to trace family and loved ones, and even in the middle of the summer when the castle is at its busiest, the Scottish National War Memorial remains a place of remembrance.
Another of the University of Edinburgh campuses is King's Buildings, a collection of science and technology departments a little way from the city centre. Lorimer's architectural firm, which he ran with John Fraser Matthew, was responsible for several of the buildings on the site, including the building which originally housed the university's zoology department
Lorimer died in 1929, so it's likely that the bulk of the zoology building from 1928 was designed and overseen by Matthew, but it's an intriguing structure that always catches my eye on my frequent trips past it to do my weekly supermarket shop...
Find out more about some of Edinburgh's other architects and designers on my private city walking tours!
With the Covid-19 coronavirus pandemic set to become the defining global event of 2020, it is perhaps an apposite time to reflect on previous times when illness and death stalked the streets of Edinburgh.
Between the fourteenth century and the seventeenth century the city was struck by bubonic plague - the Black Death as it became known - at frighteningly regular intervals. On most occasions the disease was eradicated in the city within a matter of months, but there was one period of over 16 years when the illness became endemic and circulated within the community pretty constantly.
And beyond the plague, other illnesses such as smallpox, typhus and tuberculosis circulated fairly freely before the age of effective medical intervention. But here are ten instances of Edinburgh dealing with a pretty persistent pestilence...
The first recorded instance of plague to affect Edinburgh occurred nearly 700 years ago, having spread around the globe via the shipping and trade routes which had begun to link what had previously been disparate continents and countries. Nations bordering the Mediterranean Sea had recorded a wave of deaths occurring very rapidly - often within two or three days after infection - and a year later such deaths were being recorded in Edinburgh itself.
It is thought that around two-thirds of the city's population (of around 10,00 people) died in this first round of illness.
A second wave of plague hits Edinburgh, this time killing around one-third of the population - and unlike the first infection, this time it is predominantly wealthier and higher status figures who are affected, perhaps because of their direct connection to infected imported goods and people bringing the disease into the country from overseas (not yet recognised as the route of transmission).
Throughout the fourteenth century, it's thought the plague killed approximately 20% of the population.
A wet summer and autumn is blamed for the illness, with the prevailing medical view about a balance of 'humours' in the human body - each of them being affected by environmental factors such as excessive heat or damp - still not recognising the presence of physical transmitters of the infection through viruses.
1498 - 1514
The longest period in which plague was rampant through Edinburgh, occasioning Edinburgh's city council to take actions to try to guard against infection, recognising the spread of disease in communities outside of the city and seeking to limit contact between those infected communities and Edinburgh itself.
A series of laws and city ordnances are put in place, including:
Teams of cleansers were employed by the city to clean and decontaminate properties where infection had been detected, using smoke and harsh chemicals. These people were housed separately from the rest of the community at the convent on St Mary Street, and paid as little as sixpence a day.
1529 - 1530
New cases of the plague saw even stronger measures taken to protect the city of Edinburgh.
The Burgh Muir, an extent of common land to the south of the Old Town (where Bruntsfield and Morningside are today) was designated as a kind of quarantine zone, and wooden huts were built to accommodate infected victims who would be taken out of the city and kept apart to prevent the spread of infection. Mass burials of plague victims also took place in this area, at a significant distance from the city centre.
During this time there are several recorded instances of punishments being meted out to residents of the city who had contravened the plague laws. One woman, Isobell Cattall, was both branded and banished from the city for not reporting that her daughter had been sick with the plague.
Patrick Gowanlock and his servant, Janet Cowan, were punished for harbouring outsiders in his property, with Gowanlock being banished from the city and Cowan branded on both cheeks for 'conniving' in the crime. An unnamed man was hanged for attending church whilst his wife was dying with the plague, and a woman named Katryne Heriot was drowned for bringing stolen goods into the city, and thereby bringing plague into the town.
After nearly a quarter of a century without incident, plague arrived back in Edinburgh, and the Burgh Muir was once again commissioned as a quarantine zone. The man in charge of looking after the patients dispatched here to die painful deaths was named John Forrest, and the terms of his contract stipulated that if any of the infected people released into his care should be deemed to have spread the disease to others, Forrest would be executed for dereliction of duty.
Thankfully this episode only lasted a year, and by 1575 the city was again disease-free.
A decade later, John Forrest was back in the Burgh Muir with more patients, and the area of infection was fenced off from the rest of the common moorland to prevent the mixing of infected and uninfected communities.
Beggars were forcibly removed from the city and people were instructed to isolate in their households if infection was suspected. A register was kept of such households, and food and drink was provided for them to prevent them needing to leave their homes. Anyone returning from the Burgh Muir was to remain in their homes for 15 days, on pain of death for anyone found breaking the rules.
At least two people were executed for contravening the regulations.
Another outbreak of the plague, arriving through the port of Leith from London, saw people being confined to their homes again, with 16 pence per person provided for those who were constrained from working.
So many people died during this outbreak - which lasted only four months - that Edinburgh's cemeteries were quickly at capacity, and a regulation was passed banning burials in coffins (which took up extra space in the grave).
1602 - 1607
Plague circulated intermittently through this period, with the Burgh Muir being utilised once again as a quarantine and burial zone.
1644 - 1645
The last, and worst, period of plague affecting Edinburgh came at the height of the English Civil War, and nearly three hundred years after the first recorded wave of infections. At this time the population of Edinburgh was approximately 30,000 people, with as many as 50% of them dying of plague.
This was the first time any dedicated medical and surgical support was provided to the city - prior to this treatment had focused on isolation and decontamination of property and materials after a death had occurred.
The medical treatment administered at this time was almost worse than the illness itself. The bubonic boils which formed on a victim within a day or so of becoming infected would be lanced with a red-hot instrument, allowing the filthy pus to be released, with the wound then cauterised to seal the flesh of the patient.
Generally patients would die anyway.
The doctor appointed to treat plague victims in Edinburgh in 1645 was a man named George Rae. He would go from house to house administering the treatment of lancing and cauterising the boils, and wore a heavy mask filled with sweet smelling herbs as a way of trying to avoid some of the stench of burned and poisoned flesh. He had been promised a hefty salary for his work (and his risk) treating patients, and it seems that the city authorities at that time anticipated that Rae would himself become infected with plague and die, since it transpired that they had no intention of paying the promised fee.
In the decade after the last incidence of plague in Edinburgh, Rae battled the council to get the money he had been promised, but is believed to have eventually died without receiving his dues.
One notable victim of the plague from this period was John Livingston, an apothecary or chemist who worked to treat those diagnosed with plague, and whose home had been built in 1639 at the edge of the Burgh Muir area where many plague victims were sent. He died in 1645, having contracted plague from the people he was treating.
He was buried in a tomb on his property which stands to this day and can be visited just off Chamberlain Road in Bruntsfield.
What is interesting about these events as we read them with a modern eye is the similarity in the attitudes to treatment, protection and prevention of the spread of disease. Social distancing, isolation, 10pm curfews and the closure of businesses are all features of the modern approach to tackling Covid-19, and whilst the comparisons with the plague aren't all entirely accurate (or appropriate) the similarities in our attitudes from those of 400 years ago are curious!
Explore more of Edinburgh's history with death and disease on my private city walking tours!
This article was inspired and informed by THE ELEVEN PLAGUES OF EDINBURGH by W. J. MacLennan.
Of all the figures who have shaped or influenced Edinburgh's development through the ages, one man probably deserves ultimate recognition for creating not just the visual appeal of the city as we know, but for developing the very principles which underpin Edinburgh's heritage sector.
Patrick Geddes had a major influence in a variety of different fields and subjects during his life, and Edinburgh was the focus of several of his major ideas for city planning and heritage preservation. He was born on 2 October 1854, in Aberdeenshire, and his journeys would take him not just across Scotland but around the globe.
Geddes's primary interest was in the natural world, and his career incorporated work as a zoology professor (in Edinburgh), botany (in Dundee), sociology (at the University of Bombay, now Mumbai), and town planning (in Jerusalem, and Tel Aviv - which became the only modern city fully laid out to Geddes's plans).
His diversity of interest led him to criticise the tendency for scientists to specialise in a particular field to the exclusion of others - the interconnectedness of the natural world and human civilisation was key to his multi-faceted approach to life.
The emblem of the three doves (seen on the sign of the steps which bear Geddes's name in Edinburgh's Old Town today) was a motif he used throughout his work, symbolising the three factors which he considered important in any work of human endeavour - hand, heart and head (in that order of priority).
In Geddes's Edinburgh, at the end of the nineteenth- and turn of the twentieth centuries, the crumbling structures of the medieval Old Town were being ritually demolished and replaced with 'modern' Victorian buildings. This improved their function, but lost the history and heritage of the older structures. Dismayed by this sacrificing of the old in favour of the new, Geddes experimented with a new way of thinking about urban development, which combined modernisation with historical preservation.
In 1886 Geddes and his wife purchased a block of eighteenth-century buildings on James Court, just off the Lawnmarket, which at that time had become a dense, dirty and overcrowded slum district.
Instead of demolishing the buildings, Geddes oversaw a project which he described as "conservative surgery" - he had the worst buildings removed, in order to improve the situation for the surviving structures. Creating more space, with more light, and a better flow of fresh air through the site, Geddes then renovated the surviving buildings to improve conditions. The site became a halls of residence for Edinburgh University students.
Geddes's next major project in the city was to take over the Outlook Tower on Castlehill, which had been built in the 1850s as Maria Short's Observatory and Museum of Science. Today the building survives as the city's Camera Obscura.
Geddes arranged the exhibitions in the building in order of focus, beginning on the ground floor with an overview of world geography, on the next floor was Europe, then the United Kingdom, then Scotland, and finally a feature dedicated to Edinburgh itself. The camera obscura on the very top of the building provided a real-time demonstration of Geddes's vision of Edinburgh as a living, breathing, developing city.
This sociological laboratory, as he described it, put the emphasis on observation and study as a means of understanding the world, and from that his ethos of 'diagnosis before treatment' - to understand a thing before an attempt to improve or renovate it. He disagreed with a trend at that time to build or develop a city with a pre-ordained sense of how its users would interact with it - better, Geddes thought, to understand how a historic population had grown to use their space, how a city had been shaped by its inhabitants, and to develop from that.
Across the Royal Mile from James Court was Riddle's Court, another run-down and poorly maintained building, this time a survivor from the sixteenth century. Riddle's Court had previously been associated with high status figures like the Enlightenment philosopher David Hume, as well as having hosted James VI of Scotland his new wife for a banquet in their honour in 1598. By the 1890s the building was overcrowded, with terrible sanitation, and was ripe for demolition.
Instead, Geddes brought to bear his 'conservative surgery' method, stripping away the parts of the development which couldn't be saved, and transforming the remainder of the building into another student accommodation block, in which he also implemented the outrageous idea (for the time) of letting the student living here govern themselves! They set their own in-house policies, and were responsible for maintaining the building to suit their needs.
Riddle's Court was recently renovated by the Scottish Historic Buildings Trust, and today houses the Patrick Geddes Centre, a conservation and community organisation founded on Geddes's principles.
As well as the large buildings and gardens which survive as monuments to Geddes's vision, smaller details of the city also reflect his influence on the city. Notably on Wardrop's Court, another lane leading off the Royal Mile. At the entrance to the lane are two colourful dragon sculptures, commissioned by Geddes during his extensive renovations of the nearby structures.
Most poignantly, the pair of dragons on the inner court were carved not by a master craftsman, but by Geddes's youngest son, Arthur, with guidance from the sculptor Alec Miller.
They may not be as refined and expertly finished as the outer dragons, but they stand as a direct connection to Geddes family itself.
Past the dragons is the small courtyard of Lady Stair's Close, home to the Writers' Museum and sometimes known as Makars' Court. Lady Stair's House itself is another of Geddes's renovations, though not one he undertook himself. Rather he convinced the Earl of Rosebery, a distant relation of the original owner of the building, to buy the property back from Edinburgh Council in order to repair and restore the structure. Today the building has a decorative plaque bearign both the date of its original construction (1622) and the date of its restoration (1897)
One of Geddes's perennial concerns was the amount of green space in the Old Town of Edinburgh - or rather the lack of it. Geddes recognised the need for people to have access to open space, to have contact with the natural world in the heart of the densely crowded city.
As such, he introduced a number of urban gardens into spaces hwich had been left vacant by buildings which had been removed, or created green space with the intention of having them with public access for local people to enjoy as they saw fit. Examples of Geddes's gardens can be found around the Grassmarket, tucked away behind buildings or up narrow alleys, and further down the Royal Mile, off Canongate, is one of his original spaces which was renovated in the 1970s.
Dunbar's Close Garden is a recreation of an eighteenth century private garden, on land that was acquired by Geddes in the nineteenth century. It continues to offer a peaceful escape from the busyness of the city, and a secret oasis of tranquility just off the Royal Mile.
There are significant numbers of other buildings and lanes which bear the mark of Geddes's interventions to preserve and maintain them, but the one which most visitors notice at some point during their visit stands right in front of Edinburgh Castle.
Ramsay Garden was where Geddes himself lived for a time, in a development which began in the 1740s by the poet and librarian Allan Ramsay. This distinctive pink and white coloured building was built as a collection of private apartments designed for each individual family who lived in them, and as such the building has no fixed floor plan over its levels, but is instead a series of properties all constructed and laid out according to the the needs of each separate family.
Today flats in this building are some of the most sought after and highly valued properties in Edinburgh, with commanding views over the New Town to the north, or across to the mighty fortress of Edinburgh Castle itself.
And to think that without Geddes's vision and commitment to preserving the city's ancient structures and fitting them to the needs of the contemporary society, so many of these historic features may have been (as so many others were) lost to the merciless swing of the demolition ball in the nineteenth century development boom.
Truly, it is Sir Patrick Geddes to whom we owe a debt of gratitude of gifting us the modern Old Town of Edinburgh.
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Edinburgh has long embraced its status as a university town, and like similar perceptions of cities like Oxford and Cambridge in England, and St Andrews elsewhere in Scotland, it is often thought of as one of the classical hubs of learning for students in the UK.
Around 12% of Edinburgh's population is made up of students, and in recent years the city has attracted increasing numbers of students coming from overseas to study here.
Today there are four universities in the city, each with their own character, history and traditions. Here's your brief introduction to these four great centres of learning.
THE UNIVERSITY OF EDINBURGH
The oldest, largest and best-known of the universities is the one which takes its name from the city itself. Established in 1582, the University of Edinburgh is one of the oldest universities in the world - although it's only the fourth oldest in Scotland, with St Andrews, Glasgow and Aberdeen having established their universities earlier (in 1410, 1451, and 1495 respectively).
Today the University of Edinburgh isn't purely campus based, but occupies a series of collections of buildings around the city, with five major campus areas and numerous other small buildings and offices around the Old Town.
The Old College is the grandest of their structures, designed by the architects Robert Adam (who gave the New Town its distinctive style in the eighteenth century) and William Playfair. Today the building houses the law school, but previously was used for medical teaching, and would have been where students such as Charles Darwin and Arthur Conan Doyle attended classes.
Other collections of offices and teaching spaces include King's Buildings, from the 1920s, New College from the 1840s (housing the school of divinity), and Moray House, the university's teaching school.
One of the busiest university areas is around Bristo Square and George Square, where the university has some of its social spaces - Potterrow and Teviot - as well as a new infomatics building, the David Hume tower, the university's main library, and the McEwan Hall, their grand graduation venue. During the spring months in particular this area is busy with students, and in the summer becomes home to a number of festival venues.
Edinburgh didn't acquire any new universities between the sixteenth century and 1966, when the former School of Arts of Edinburgh (dating back to the 1820s) was designated its new status as a university, and a new name.
Heriot-Watt references two major figures of Edinburgh's history. George Heriot was a jeweller and a goldsmith in the sixteenth century, and James Watt was an engineer and inventor whose improvements to the steam engine brought about the Industrial Revolution.
Today Heriot-Watt has a campus to the west of Edinburgh city centre, as well as a campus in Galashiels in the Scottish Borders, and (since 2005) campuses in Dubai, Malaysia and the Orkney islands. A significant part of the courses taught at Heriot-Watt remain based in technology, including chemical engineering, renewable technologies, structural engineering, computing, physics, mathematics, finance, and textile design.
Heriot-Watt was named the Sunday Times International University of the Year in 2018, and frequently scores highly in national and international rankings for its academic teaching.
Another Edinburgh figure gives his name to Edinburgh's third university. The mathematician John Napier was born at his family's estate property at Merchiston near Bruntsfield in 1550. He is best known as the discoverer of lotharithms, and for creating an early computational device known as 'Napier's Bones' which allowed for quick calculation of large numbers. On his death his was buried at St Cuthbert's church in Edinburgh's West End.
The surviving portion of Merchiston Castle, in which Napier was born, now forms the heart of the main campus of the university named for him.
Courses available at Napier include health and social care, biomechanics, business, computing and engineering, and the university has around 20,000 students, including those on overseas placements and exchange programmes.
QUEEN MARGARET UNIVERSITY
The newest of Edinburgh's universities acquired its status in 2007, having previously been a college and university college. Queen Margaret University is named for Queen Margaret of Scotland, who was also a saint (not just figuratively but actually!). She has long held an association with education in Scotland, featuring in the emblem placed on schools across Edinburgh from the nineteenth century onwards.
The university was originally set up as a cooking and domestic science academy in 1875. As a women-only establishment - founded by two women, Louisa Stevenson and Christian Guthrie Wright - its purpose was twofold: to improve the education and working status of women, and to improve the diets of poor and working class families in Edinburgh.
Over time the university incorporated other organisations and schools, including the Edinburgh College of Speech and Drama, the Edinburgh School of Speech Therapy, and the Edinburgh Foot Clinic and School of Chiropody.
Having previously occupied premises in Edinburgh and at Clermiston, in 2010 the university moved to a brand new campus location at Musselburgh, to the east of the city.
Explore more of Edinburgh's academic history and figures associated with its universities on my private city walking tours!
There are precious few women celebrated in the popular stories and legends of Edinburgh (famously the city has more statues of dogs than it has of historical women...). But one name which is enduringly popular is that of Margaret Dickson, known as Maggie, who acquired a curious kind of celebrity in the eighteenth century.
There are many versions of her story that get told by guides on tours through the city, and the historical record makes it tricky to deduce a fair or factual account of her life (and, as we shall see, after-life) - even the century in which the incident occurred is incorrectly recorded - but this is the version that I share with groups.
Maggie Dickson had been born in or near Musselburgh, a fishing town to the east of Edinburgh, and became the wife of a local fisherman. In the 1720s, when she was still just in her early 20s, she was arrested on suspicion of murdering her newborn baby. She had been discovered in the act of trying to give the body a burial, and despite her protestations that the child had been stillborn - and without any solid medical evidence to the contrary - she was put on trial for causing its death, found guilty, and sentenced to be hanged in punishment for her actions.
The Grassmarket area of the city was where Edinburgh's executions took place at that time, where crowds of up to 20,000 spectators would gather for the spectacle of justice in action.
On 2 September 1724, Maggie Dickson was duly brought to the Grassmarket, hanged, and her body was cut down from the gallows and placed in a coffin to be taken back to Musselburgh for burial.
About half-way between the city and Musselburgh was a small village called Duddingston, and in it a pub called the Sheep Heid - the pub still stands and has claims to being the oldest surviving pub in Scotland.
The driver of the cart bearing Maggie's corpse stopped at the Sheep Heid for his lunch, and when he resumed his journey he became aware of a strange noise coming from the back of his cart.
Upon investigation, the driver discovered the noise to be coming from inside Maggie's coffin, and when he prized the lid off the coffin he discovered, to his horror, that Maggie Dickson was still alive. She wasn't in great condition (she had been hanged, after all) but she was still living, breathing and (quite literally) kicking and screaming.
Suddenly the people of Edinburgh didn't know what to make of Maggie's miraculous survival. Some were outraged and immediately called for Maggie to be taken back to the Grassmarket and hanged, according to her sentence. Otherwise, taking a more critical viewpoint, argued that she had already been hanged, and couldn't be hanged for a second time (she had only killed one baby, after all....).
The legal authorities were similarly perplexed by the state of affair, and the judges of the High Court gathered in conference to discuss what should happen to Ms Dickson. After much legal debate and scrutiny they came to the conclusion that she couldn't be hanged for a second time, as according to her sentence she had already been hanged - a second execution would be justice in bad faith, and so Margaret Dickson was allowed to live.
However, the judges amended the text of the law books that day, and from that point on the sentence was to be hanged until dead - meaning that Maggie Dickson became one of very few people to survive their execution and live to tell the tale.
Maggie Dickson lived (according to some versions of the historical record) for another sixty years, and raised another six children in the latter half of her life. She became known as 'Hauf hangit Maggie', or 'Half-hanged Maggie', and in more recent times has been accorded the greatest honour they can offer anyone in Scotland - they've named a bar after her...
On the Grassmarket today, near the site where she narrowly avoided meeting her death in the 1720s, stands Maggie Dickson's pub, a perennial favourite with drinkers and visitors to the city.
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The architecture of Edinburgh is one of the constant delights of the city - no matter how many times I walk these streets (and I've walked them A LOT!) I'm always seeing new details or new features that I never noticed before.
But there are several instances in the city of architects dying before their buildings could be finished, and even (in one notable example) of a building being abandoned before it could be completed.
So here's a brief introduction to some of Edinburgh's unfinished architectural business...
GEORGE MEIKLE KEMP
Not an especially well known name amongst Edinburgh's architectural luminaries, Kemp was a joiner and carpenter by trade, but was also a self-taught architect who created one of the city's most significant structures.
In 1836, shortly after the death of the writer Sir Walter Scott, a public competition was launched to design a monument which would adequately celebrate this incredibly popular and influential figure. The top three designs would each win a prize of 50 guineas, and one of the designs would be built.
Kemp had no formal architectural training, and although he was a gifted draughtsman and had an eye for the detail of gothic structures of the Borders abbeys and Rosslyn Chapel, which he'd seen as a child, he'd never actually attained a design qualification. He submitted an entry to the competition under a pseudonym, and was thrilled when his design was chosen as one of the three winning entries.
Edinburgh was a city full of master builders and designers at that time, and his success (despite his lack of qualification) made him an unpopular figure in the architecture community. Nevertheless his design for a monument to Walter Scott commenced construction in 1840, and quickly took the 'gothic rocket' shape by which it is popularly known today.
In 1844, as the construction was nearing completion, tragedy struck. Kemp never made it home one evening, and his body was discovered floating in the canal near Fountainbridge a few days later. Suicide was ruled out, but whether it was foul play or accident which led to his drowning was never proven.
Kemp was buried in the St Cuthbert's kirkyard, and his ten-year-old son laid the final top stone of the monument to complete its construction six months after his father's death. Kemp never saw the finished monument which stands on Princes Street today.
Remembered as the architect who created the classical style of Edinburgh's New Town, Robert Adam came from a family of architects, and was such a notable figure in the late eighteenth century that on his death in 1792 he was afforded a burial plot within Westminster Abbey in London, lying alongside historical luminaries such as Mary Queen of Scots, Isaac Newton, Charles Drawin and (more recently) Stephen Hawking.
Adam's work across Scotland and the rest of the UK was extensive, but there were two major projects in Edinburgh which were left unfinished at the time of his death.
Most notably, perhaps, was the development of the University of Edinburgh's Old College, which Adam had designed as a double quad structure housing some of the university's prime teaching spaces. Construction began in 1788, but came to a halt four years later at the time of Adam's death.
Funding at this time was also a challenge, and so the building was left unfinished for nearly thirty years, until Adam's plans were passed to a luminary of the next generation of Edinburgh architects, William Playfair. Playfair made several major modifications to the plans - reducing the double quad to a single open space, for example, which reduced the cost of the construction significantly - and oversaw the development to its completion.
Adam would never see the finished Old College building, one of the most beautiful features in the Old Town, but neither would he see the completion of the site which would perhaps have the greatest impact and influence on the city as a whole.
The New Town of Edinburgh had been growing and developing steadily since 1767, with structures built westwards along George Street in sequence. The initial houses were all designed by different architects and developers, and the patchwork effect of styles and designs came to be considered unattractive, and ill-fitting with the highly stylised plans for the city.
Adam was commissioned to design all of the buildings around Charlotte Square, the western extent of the original New Town development, to create a harmonised sense of architectural style, and his plans started development in 1791, a year before his death.
Today, the style of Adam's Charlotte Square properties is reflected and reproduced right through the New Town, being taken on by later architects and developers and creating a unified sense of classicism which marks Edinburgh's New Town as a gem of Georgian style. Alas, Adam would never see Charlotte Square completed, nor would he know how influential his style and vision would be.
Another figure associated with the New Town would also never see the finished product. James Craig was the young architect whose grid-system plan for the New Town was revolutionary in the 1760s when he proposed it - three broad streets running east-west, bisected by smaller streets running north-south. It was a vision that was clean, classical, and in complete contrast to the narrow, winding lanes of the Old Town, and created an entirely different sense of space for the city's new era of expansion.
Although he died before the New Town with finished, Craig did perhaps have some sense of its impact and importance, as he came to resent the demands upon him for commissions that replicated his early grid system, and wrote to a friend complaining of the "monotony of the straight line" that developers sought from him.
Craig died in 1795, a quarter of a century before the first phase of the New Town was completed, and was buried in what was, for a long time, an unmarked grave in the Greyfriars Kirkyard.
Playfair was the neo-classical architect of the nineteenth century who followed Robert Adam's lead in creating distinctive styles of work which continue to populate Edinburgh's city centre. Almost any building with Grecian-style columns can reliably be claimed as either built or inspired by Playfair, but there is one specific structure which remained unfinished not just during Playfair's lifetime, but right up to the modern day.
On the top of Calton Hill, overlooking both the Old and New Town areas of Edinburgh, stands a distinctive range of columns that helped to give Edinburgh one of its nicknames, 'the Athens of the north'. This structure was original intended as a full scale recreation of the Parthenon in Athens, a Grecian temple structure that would serve as a war memorial to the dead and wounded Scottish soldiers of the Napoleonic Wars.
The foundation stone for Playfair's design was laid in 1822 during the historic visit of King George IV, and fundraising efforts began to raise the estimated £42,000 that would be needed to complete the monument.
The first round of public subscriptions raised £16,000, and construction work began on the columns.
Then, the fundraising dried up, the public stopped donating, and money for the project became scarce. Various suggestions have been made for why the public lost interest in the project - partly the Napoleonic Wars were considered a dim and distant series of conflicts that the people of Scotland didn't have an immediate or visible connection to, and so their interest in commemorating them waned steadily. One other factor was the death of Walter Scott, and the subsequent fundraising for George Meikle Kemp's monument in his honour - as an immensely popular writer and social figure, it's plausible that where people had money spare to donate to a public monument, they favoured the celebration of Scott over the commemoration of the Napoleonic Wars.
Either way, a decision was made that Playfair's monument would remain unfinished, and construction stopped after the range of twelve columns which adorn the top of Calton Hill today. What was originally to be known as the National Monument is today better known as Edinburgh's Shame or Edinburgh's Disgrace, becase of the decision to leave it unfinished.
The last notable architect who never saw his work completed was the Catalan architect Enric Miralles. He was just 45 years old when he died of a brain tumor in July 2000.
The project that Miralles was working on at that time was considered to be the greatest of the buildings he designed during his career, and it can be found at the bottom end of Edinburgh's Royal Mile, opposite the Palace of Holryoodhouse.
The modern Scottish Parliament Building is a controversial structure for several reasons, but the style and vision which Miralles brought to this previously neglected area of the city is the factor which visitors continue to find challenging. The building resists easy definition or understanding, and instead is a whole collection of symbolic references to Scottish culture, history, landscape and people - it's a truly eye-opening structure which was awarded the UK's highest architectural honour, the Stirling Prize, on its completion in 2004.
The building itself evolved over its construction, which may help to account for its variety of styles and features, but the most significant influence on its development was Miralles' death, which occurred just a year into the build and before the final vision of the parliament complex had been completed on the drawing board.
The project, suddenly without its lead architect, had to be taken over by another figure - and it was to be Miralles' wife, an Italian architect named Benedetta Tagliabue. She brought her own vision to Miralles' magnum opus, and saw it through to its completion.
Today the parliament is a highlight of the city, and deserves to be seen even if its style is considered to be challenging or ugly. The inside of the building is an incredible feat of light, space and style, and is worth exploring. Whilst he avoided much of the later controversy that came with the parliament, it's a shame Miralles didn't live long enough to see his intriguing building completed.
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Visitors to Edinburgh today typically arrive either by plane or train – and, for the record, bringing a car to Edinburgh is generally to be considered a terrible idea! - but these means of mass transit are historically very new, and for a long time the vast majority of people simply wouldn't have had the time or means to be able to undertake travel beyond the locality in which they lived.
Add to this that many towns and cities were protected by defensive walls, and often charged a fee for people to enter – the poorest people of these places simply wouldn't have been able to afford to leave, as was the case in Edinburgh. It's remarkable to think that before the rise of railways in the 1830s and 40s, a majority of Edinburgh people would have spent their entire lives within the confines of the city walls.
But for those who could afford to travel – and had the need to do so – the seventeenth century saw the rise of stagecoach services across the UK.
The first public coach service in Britain launched in 1610, and connected Edinburgh to Leith, at that time an entirely separate town just a few miles to the north-east.
By 1658 there was a regular coach service connection London and Edinburgh. It ran fortnightly, and cost £4 to make the journey - equivalent to over £400 in modern currency. (Mail coaches ran more frequently to carry goods and messages between the cities.)
At that time, travelling between the two cities could take anywhere from 10 to 14 days on average, with overnight stops along the route – hence the 'stage coach', travelling in stages to change or rest the horses.
In 1712 an Edinburgh to London service was advertised as being able to "perform the whole journey in thirteen days without any stoppages [ie. unscheduled interruptions] (if God permits), having eighty able horses to perform the whole journey". This service left Edinburgh on Mondays in winter and Tuesdays in summer (to allow an extra day/night for bad weather), rested for the whole day of Sunday, and reached London the following Friday. It cost £4.10s.
It wasn't until 1734 that a weekly passenger connection between London and Edinburgh was announced, but either it suffered from lack of demand or simply couldn't make the journey in good enough time because by 1760 the service was back to just once a month.
Wealthier people might have paid for a private coach to make their journey, but a monthly service gives an indication of how many people had need of (and could pay for) a public service at that time.
Glasgow, with its shipping interests, had developed a service which connected the city to London in just 10 days by the 1770s, and Edinburgh could be reached from London within the same amount of time towards the end of that decade.
Once arrived in Edinburgh, visitors would be accommodated in coaching inns which existed primarily to serve this purpose. Some would be found in the Grassmarket, but a popular one on the other side of the city was the White Horse Inn, which stood just off the Royal Mile at Holyrood and had historic connections as a royal stable house – it was named for one of Mary, Queen of Scots's favoured horses.
The street nearby at that time was known as Watergate, as it afforded access to a supply of water from which the horses would be refreshed, and not far away was the start of the Great North Road, the main route which connected Edinburgh to London along the length of the east coast, itself based on the line of the old Roman route. Today that road is London Road, and it joins almost directly to the A1, which is turn becomes the M1 motorway, which leads straight to the heart of London – the historic route is still the most direct road connection between these two national capitals.
The White Horse Inn stood on what is today White Horse Close.
With the rise of railways in the 1830s the boom in faster transport options meant that travelling by horse drawn vehicle was no longer the optimal method of making journeys, especially between distant locations. Sending goods, mail and passengers by train was a faster and more efficient option, and the effect was immense – suddenly the means of travel was more available (and affordable) to ordinary, working people, and with the age of steam came the rise in the notion of holidays. For the first time people could travel for pleasure, and coastal destinations in particular became popular with families who otherwise spent their lives in dark, industrial cities.
The last mail coach from Edinburgh to London ran on 5 July 1847, and thereafter mail was sent by rail instead, and passenger travel by stage coach decreased rapidly around the same time.
Find out more about White Horse Close on a customised city walking tour, or my self-guided Close Encounters audio trail option.
It's a street in Edinburgh that is often (literally) overlooked, but the Cowgate is one of the oldest thoroughfares of the city and the extent of modern development along it disguises centuries of history.
So here's a trip along Cowgate, from east to west, highlighting some of the historical features you might miss (or which have long since been demolished). The Cowgate is more than just a shortcut through the Old Town, and deserves a closer examination!
The line of Cowgate is shown on early maps of Edinburgh, where from the 1490s it was marked as Via Vaccarum, meaning 'the way of the cows'. It was a road which lay outside of the city boundaries for much of its history, and at a time when it was illegal to drive cattle through the city streets the Cowgate provided a route to bring cattle from the fields and pastures to the south and east of Edinburgh to the cattle market near the Grassmarket.
It was a practical road, running along the valley to the south of the Royal Mile and parallel with it, starting at the junction with St Mary's Wynd (or St Mary Street as it is today) and finishing at the east end of the Grassmarket at the junction with West Bow.
In the sixteenth century, when the Flodden Wall was built, expanding the area contained within the city, Cowgate was brought inside the perimeter and at its eastern end had one of the six gates into to the town, called the Cowgate Port.
The area just inside the wall at this eastern end has changed considerably, but one of the major structures here today is St Patrick's Church, which was built in the 1770s. St Patrick's became a Catholic church in the nineteenth century, at a time when Edinburgh was receiving considerable numbers of migrant families moving here from Ireland.
The notorious potato famine of the 1840s in particular forced many to uproot their lives, and many Irish workers travelled to Scotland to find jobs, bringing their families with them when they came. They would often find themselves living in rundown lodgings, and Cowgate at that time was a notorious slum district - the area around St Patrick's became known as 'Little Ireland' due to the large number of Irish families settling here.
In 1875, the parish priest at St Patrick's had the idea to create a football team from the boys' social club which operated out of the church. They would travel to other churches and districts of Edinburgh to play other local teams, and they took the name 'Hibernian', which was from Hibernia, the Latin name for Ireland.
Today Hibernian - or Hibs - is one of the top-ranking football teams in Scotland, and play their home games at the nearby Easter Road stadium.
The next junction along Cowgate has the St Ann's community hall, which has had various uses over the years. But the site here was originally the grand sixteenth-century home of Cardinal David Beaton, a major figure at the time of Mary, Queen of Scots.
Beaton had put himself forward to rule Scotland in Mary's place during her infancy. His home on Cowgate was often described as a palace, which seems remarkable given that the area was a slum 300 years later.
In fact for a long time Cowgate had been a higher status housing district, attracting wealthy figures and families who could afford to live outside of the city, and could enjoy a more comfortable and spacious property than those poor souls crowded into the narrow lanes of the Old Town.
That all changed once the New Town was built, when wealthy families moved to the grand surrounds of George Street and Princes Street, and the housing on Cowgatewas left empty. Much of it was later taken over by the slum landlords.
Cardinal Beaton's house stood until the 1870s, when the area was undergoing a wholesale redevelopment as part of the Improvement Acts to renovate the Old Town. The by-then derelict property was removed and the buildings you see today erected in its place.
Further along Cowgate you'll find the characteristic cow figures pictured above, mounted on the side of the building, a fun reminder of the street's origins. On the opposite side of the street you'll find a former Freemason's Hall, now St Cecilia's Music Hall, and Bannerman's bar, a popular live music venue.
But the major feature just here is the arch of South Bridge, a late eighteenth century development built to try to improve access into Edinburgh.
There are 19 arches in total, but 18 of them are concealed by the buildings built alongside to enclose the structure in the 1780s.
The bridge itself was built as high-status housing and business space, at the time that the area below it was transitioning into a slum district. Later, Robert Louis Stevenson would describe standing on South Bridge and wrote:
Edinburgh's Old Town had officially become a split-level society, not just geographically but also economically.
Continue under South Bridge and the modern hotel on the left hand side of the street was built to replace the former Gilded Balloon venue and arts spaces, which were destroyed by fire in 2002. A little further ahead is another modern development, with a set of blue gates closing access to a lane marked College Wynd.
Although the building here is new, the lane itself is not, and it was here, at the junction of College Wynd and Cowgate, that that author Walter Scott was born in 1771. Scott's family would move from the area shortly after - part of the exodus of wealthy residents away from Cowgate at that time - but the lane continues to be marked as a reminder of Scott's Old Town origins.
The New Town development also led to the Cowgate achieving another notable feature - it became the first underground sewer line in Edinburgh! The artificial loch which had filled the valley to the north of the Royal Mile (where Princes Street Gardens are today) was drained, and the stream which fed it was re-routed around the other side of the castle rock, and was enclosed beneath the level of the roadway to wash away filth and waste flushing down the steep Old Town lanes.
But the oldest surviving buildings of the Cowgate lie ahead of us. Firstly, on the right hand side, the Three Sisters pub and sports bar occupies the former Tailors' Hall, the original guildhall of the tailors of Edinburgh, one of the fourteen recognised guilds or trades of the medieval city.
Tailors' Hall dates from the 1620s, and was originally a quad with a range of buildings along the front of the street and an archway leading into the open square that is visible today, on the inside of the structure. The building was occupied as military offices in the nineteenth century,and the front range of the structure was demolished to make the building more functional.
On either side of Cowgate there are now the rear entrances to the Sheriff Court (on the left) and the National Library of Scotland (on the right).
The second of the two bridges over Cowgate is George IV Bridge, built in the 1820s, and a higher structure than South Bridge previously.
In 1868, a young boy named James Connolly was born in one of the buildings on the left of George IV Bridge. His parents, like many others, had settled here after leaving Ireland, and young James would go on to be one of the major figures in the rise of the Irish republicans uprising of 1916, when he led a faction of rebels opposing British rule in Ireland.
Connolly was executed for his role in the rebellion, but remains a controversial figurehead for many.
Through George IV Bridge, the last feature to note before arriving at Grassmarket is the Magdalen Chapel, on the left hand side of the street.
Built in the 1540s, this remains the oldest surviving structure on the Cowgate. It was built by Michael Macqueen, who left the money in his will to build the chapel in his will as a form of indulgence, a Catholic tradition to help ease the passage into the afterlife by offsetting some of the sins committed during life.
The mother of Mary, Queen of Scots led prayer sessions in this chapel during her time in Edinburgh, and the building was given to the care of the guild of Hammermen, who were silversmiths and jewellers.
Shortly after it was constructed, in 1560 the Scottish Reformation saw the nation converted from Catholicism to Protestanism, and with it the destruction of many Catholic churches and chapels. The buildings were desecrated, relics destroyed, silver candlestick melted down for other uses, and the decorative stained glass windows smashed.
Today the Magdalen Chapel has the only surviving, intact, pre-Reformation stained glass windows in the whole of Scotland. The building is open to visitors to see the inside of this small historic space, with its (rather small) stained glass windows.
And so we arrive in the Grassmarket, the original destination for the drovers and farmers who brought their cattle along this roadway.
Today, locals (and visitors) often see the Cowgate as a bit of a shortcut, providing access across the city without being troubled by the Royal Mile itself. Hopefully you may now look a little closer at some of the buildings along the way, and have a better sense of the history of this ancient thoroughfare!
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It's not news to anyone that American visitors make up a significant percentage of those travelling from overseas to explore Edinburgh and Scotland.
From walking the footsteps of their (historically) distant relatives to simply exploring the wealth of history and culture on offer, and from self-drive excursions around the country to one day stops on a longer cruise itinerary, visitors from the US make up around 14% of all visitors to Scotland every year.
So let's look at some of the historical connections between Scotland and America - and maybe you'll find some Edinburgh features to put on your 'must see' list during your trip!
SEEING STARS (AND STRIPES)
Within Edinburgh Castle is a feature considered to be one of the earliest known representations of the Stars and Stripes, the flag of the United States. It's worth seeking out if you're going to take the time and trouble to visit the castle, but is not easy to find!
Look for the Prisons of War exhibition, which is one of the highlights of the castle itself, a recreation of the former prisons beneath the Great Hall where military prisoners were detained. From French naval offenders in the Seven Years' War of the 1750s to some of the original pirates of the Caribbean, these dank vaults have hosted enemies of Scotland from all around the globe.
When American sailors were captured during the American War of Independence, many of them found themselves held in Edinburgh Castle, and it was during this period that one prisoner took a penknife and carved carved an intriguing depiction of a flag into one of the heavy wooden doors of the prison complex.
The doors themselves are now on display with graphic representations alongside highlighting the names, initials, emblems and graffiti that was carved into them over the years, and amongst all these scratches and scrapes you will find (if you look closely) the unmistakable image of a striped flag, just waiting to have stars added to the corner panel...
HONEST ABE (HONESTLY!)
It may seem a strange place to find a statue of the sixteenth president of the United States, but in the Old Calton Burial ground is the imposing figure of Abraham Lincoln, looking down from an ornate marble monument.
The monument itself is a grave of six men who had travelled from Scotland to fight alongside Lincoln in the American Civil War. Like the Irish (with whom many Americans also find associations) the Scots could often be relied upon to provide vital firepower in military conflicts, which is one of the reasons why the Scottish army has connections to many historical battles all around the world.
After their deaths, the bodies of these Scots soldiers were returned to Edinburgh for burial, and it was the widow of one of them - a Sergeant Major John McEwan - who later wrote to the American consul in Edinburgh suggesting a formal commemoration of their deaths may be appropriate.
The consul himself wasn't initially persuaded, until (it is said) his wife came to hear of the request and made the case that the surviving wives and families of the dead men were entitled to an official acknowledgement of their sacrifice.
And so it was that funds were raised to pay for the commemoration, unveiled in 1893, featuring Lincoln along with a representation of an emancipated slave, embodying the cause for which these men fought and died.
The monument is the only American Civil War Memorial outside of the United States, and was the first statue of an American president to be erected outside of North America.
(And did you know that Abraham Lincoln and Charles Darwin were born on precisely the same day?)
LIGHTING THE WAY
Edinburgh's Central Library is the best-used public library in the city, and it was a gift to Edinburgh from the philanthropist Andrew Carnegie, whose fortune was built in America. At the time of his death, Carnegie had given away over $350,000,000 to charities and causes around the globe, including establishing over 3,000 libraries.
Libraries were a great cause in Carnegie's mind. He wrote in his autobiography: "The fundamental advantage of a library is that it gives nothing for nothing. Youths must acquire knowledge themselves. There is no escape from this." He saw the provision of raw information for the consumption of a public, eager to better their understanding and knowledge, as a great and important thing. It was no coincidence that his own father had helped to establish the first public library in Dunfermline, the town north of Edinburgh where Carnegie was born.
In the 1890s, Edinburgh was offered £25,000 from Carnegie to establish the city's first public lending library. That would constitute 'seed funding' to set up the library, on the understanding that the city itself would pay the balance of funds needed to finish the project.
At that time Edinburgh had no public library and - to Carnegie's horror - did not want a public library. They certainly did not want to have to pay for one! Carnegie's benevolence in establishing the fund was rejected, and he was told to give his money to another city, who would be more willing to supplement it with their own cash.
Carnegie was so determined that Edinburgh should have a public library facility that he doubled his endowment to £50,000.
Today Carnegie's library can be found on George IV Bridge, and above its entrance the motto 'Let there be light', reflecting Carnegie's original intention to enlighten and inform the world through his gifts.
WORDS, WORDS, WORDS
A text that remains oft-quoted even in today's era is the Constitution of the United States of America, a document detailing the principles and rights of the nation and its inhabitants. But much of that text was drawn from writings that had originally been composed here in Edinburgh over a century and a half earlier...
In 1638, the National Covenant was a declaration from the people of Scotland to protect the Scottish church from interference by the king, Charles I.
It was drawn up in Edinburgh and signed at the Greyfriars Kirk, and if we compare some of the phraseology of the National Convenant with some of the text of the Preamble to the Constitution of the United States, drawn up in 1787, we find some surprising similiarities...
It's not word-for-word, but it's not difficult to see that there was a influence on the wording of the later US Constitution from the earlier National Covenant. Which may not be entirely surprising given the over 50,000 Scots who emigrated to the American colonies between 1763 and 1776!
This mass migration is partly why the Scottish diaspora in North America is so strong, and why (in genealogical terms) more than 30 US presidents have documented Scottish heritage.
Four copies of the National Covenant document (which were originally distributed across Scotland) can be found in Edinburgh, including one on display in St Giles' Cathedral.
A GIFT FROM THE AMERICAN PEOPLE
In Princes Street Gardens stands a statue by the sculptor Robert Tait McKenzie, a Canadian with many connections to America. He was linked to the University of Pennsylvania, and involved in the American Scouting movement.
In the 1920s, following the First World War, McKenzie created a sculpture called The Call 1914, showing a Scottish soldier in front of a frieze representing the transition of ordinary working men from industries like farming, fishing and mining into soldiers.
The sculpture took four years to create, and was cast in bronze at a New York foundry. The £10,000 cost of creating and importing the statue was met by American donors.
The statue stands facing Edinburgh Castle, and McKenzie had asked that on his death he would be buried in front of the statue. Alas, Edinburgh's laws on burials and public places made this impossible, so instead McKenzie's heart is interred in nearby St Cuthbert's graveyard, where a small decorative plaque marks its location.
FRANKLIN, MY DEAR...
Benjamin Franklin was one of the Founding Fathers of the United States, and was known as the First American, who travelled to the UK between the 1750s and 1770s. He spent much of his time in London, but also visited Edinburgh to meet notable figures like David Hume, with whom he lodged for three weeks in 1771.
Franklin was also granted an honourary doctorate from the University of St Andrews, Scotland's oldest university.
One of the places Franklin stayed during his visits to Edinburgh was Prestonfield House, which operates today as a boutique hotel and restaurant. Why not take afternoon tea in the plush surrounds of this incredible former estate property, and see a little of old Edinburgh the way that Franklin might have seen it during his time here.
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Born across the Firth of Forth in Fife, a county to the north of Edinburgh, Adam Smith is one of the best-known and most important figures of the Scottish Enlightenment, in the eighteenth century.
His work on economics in particular remains a text for our time, and it was this book - entitled An Inquiry into the Nature and Causes of the Wealth of Nations - that garnered Smith his reputation as the father of modern economics (or modern capitalism, depending on your perspective!).
Smith himself never knew his own father (also called Adam Smith), who died a couple of months before his son was born. Few details of Smith's childhood are known - even his exact date of birth in 1723 isn't certain - until he started studying at the University of Glasgow at the age of 14. Here his academic prowess proved to be a great gift, and he later undertook post-graduate studied at Oxford University - although this seemed not to be a happy experience, and it is believed that he ended his studies there prematurely after experiencing the effects of a nervous breakdown.
Whilst giving lectures at the University of Edinburgh, Smith became acquainted with the philosopher David Hume, whose work he had read during his time at Oxford, and they established a firm friendship (despite Hume being 10 years senior to Smith).
In character Smith was perhaps considered a bit absent-minded, prone to distractions and known to frequently talk aloud to himself. Although he was known as a great writer and intellectual, in conversation he could be lifeless and un-engaging - some speculated that he dulled his conversation so as not to distract from sales of his books, in which he was more loquacious - and although he gave frequent public lectures he was an uncomfortable public speaker, the result of a speech impediment. There are few portraits of him from life because he disliked his appearance - he once remarked that "I am a beau in nothing but my books".
In 1759 Adam Smith published The Theory of Moral Sentiments, a study outlining Man's moral nature and his capacity to make decisions based on conscience and the impact on the social relationships with others. Smith intended this to be the first volume in an eventual series of 23 works which would consider in great detail every aspect of human experience... Although The Wealth of Nations would prove to be his more influential book, Smith considered Moral Sentiments to be the better work, and continued revising and editing the volume for subsequent publications right up to his death.
At the time he wrote and published The Wealth of Nations, in 1776, Smith was living in Kirkcaldy, the town in which he'd been born.
The house Smith wrote in was owned by his mother, with whom he maintained a close relationship until her death, just six years before his own.
Later Smith would return to Edinburgh to live in Panmure House, just off the Canongate on the Royal Mile - the building still stands, and today is a venue for economics forums.
One of the key ideas often cited from The Wealth of Nations is Smith's notion of an 'invisible hand', the unseen but active forces influencing and shaping a society's economic process, but the phrasing of 'invisible hand' occurs just three times in all of Smith's writing - once in The Wealth of Nations, once in The Theory of Moral Sentiments, and once in A History of Astronomy, which was published posthumously in 1795.
A modern statue of Smith, produced by Alexander Stoddart, pictured above, features a rather playful allusion to this idea of an invisible hand, with Smith standing with a hand atop a sheaf of corn - and the cuff of his jacket conceals his hand rendering it 'invisible'...
Smith died at Panmure House on 17 July 1790, and left instruction to his executors - themselves major figures of the Enlightenment period, physicist Joseph Black and the geologist James Hutton - that all of his unfinished, unpublished work should be destroyed.
Smith didn't want any of his writing being published without his explicit editorial oversight. And so, of the 23 major volumes of work that he had planned and (it is believed) started writing, just Moral Sentiments and Wealth of Nations survive.
But these two works by themselves have been enough to secure Smith's place in the pantheon of great thinkers of the world, whose vision and ideas continue to influence society today, centuries after their deaths. Yet on his deathbed Smith regretted that he hadn't achieved more.
Adam Smith was buried just a stone's throw from his room at Panmure House, in the Canongate Kirkyard, where his grave today has become a small site of pilgrimage for economics students and others from all around the world, who commemorate Smith in a way that I think is rather fitting - by throwing small coins of their national currency on his grave, literally celebrating him with the wealth of nations.
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As a city that has a great many artistic connections, from major figures like Eduardo Paolozzi to royal sculptors like John Steell and Alexander Stoddart, it's no surprise that Edinburgh boasts a great many public art works on the streets of the city.
Here are just a handful of works you may find during your visit to Edinburgh...
Work No. 1059
This work by the Turner Prize-winning artist Martin Creed is one piece of art you can literally walk all over...
In 2011 Creed renovated a spiral staircase in the Old Town which had previously been a dark, dank and rather unpleasant access link between North Bridge and Market Street beneath it.
The steps were a feature of the original building when it was first constructed in 1901. At that time the building housed the Scotsman newspaper, where Scotland's daily national was compiled and printed in house. The staircase included a number of hatches into the offices which allowed members of the public to pick up a copy of that day's paper literally hot off the press!
Creed's work replaced each of the old, worn sandstone steps with blocks of marble, each one different in colour and texture - 104 in all. So today pedestrians can climb the steps with a rainbow of shifting shades beneath their feet. Of all the city's staircases, the Scotsman Steps are one worth making the effort to climb!
The Next Big Thing is a Series of Little Things
This is one of my favourite pieces of art in the city, and like the Scotsman Steps, it's one you may not even notice.
On Bristo Square, at the heart of the university district, is the largest piece of public art in the Old Town, commissioned by the University of Edinburgh in 2017. Created by the artist Susan Collis, whose work often blends into its environment and plays perceptual tricks on the observer, the artwork is a series of over 1,600 bronze 'drips' set into the granite pavement, creating the effect of paint having been accidentally dribbled across the square.
Collis's idea was that most of the city's sculptures have become such a fixture of the landscape that passersby rarely even notice them any more. Her work, in contrast, begins as an integral feature of the street and will become more visible over time, as the bronze dots get rubbed shiny by the traffic of pedestrians walking over them.
I think it's fun and playful and worth keeping your eyes peeled for!
A Drama in Time
In a dark underpass at the base of Calton Hill, where the railway lines running out of Waverley Station cross over the top of the Calton Road, is a shining beacon of colour and light that is difficult to miss.
Installed in 2016, Graham Fagen's neon panels create a mini comic strip of images influenced by tales of migrant Scots, travelling from home to resettle their lives in far flung locations. The title is drawn from the writings of Patrick Geddes, a pioneer of social planning whose influence on Edinburgh is still apparent in many Old Town buildings and developments. He wrote: "a city is more than a place in space, it is a drama in time".
A self-explanatory title, perhaps, for an eight-tonne sculpture of a rather sultry looking fish, mounted on the shore at Cramond, a suburb on the coast to the north-west of Edinburgh's city centre. The artist is Ronald Rae, who hand carves his works from granite, a challenging process which can often take over a year for a single piece of work.
Other Rae sculptures can be found in the city, notably the Lion of Scotland which can be found in St Andrew Square in the New Town.
The Regent Bridge
Another easy work to miss - and the photo here is ho help at all - as this is a light show which is (obviously) best seen at night! The underside of the Regent Bridge, built in the New Town in the early nineteenth century, has been illuminated by the artist Callum Innes. This was his first public art commission, installed in 2012.
The coloured light strips in the ground on either side of the arch throw light up the stone walls of the structure, creating an interesting interplay of light and shadow. It's not a work that will linger in the memory, perhaps, but it does bring a bit of interest to what is otherwise a busy pedestrian route into Waverley Station.
All the World's a Stage
Technically a public artwork, although you will have to have a ticket to an event at the King's Theatre in order to see it...! The ceiling high above the auditorium in this popular venue was painted by the artist John Byrne in 2013 as part of a major renovation of the theatre, and takes its suitably theatrical title from the famous Shakespeare speech in As You Like It.
It took five weeks to paint the mural, which Byrne suggested at the time would be his last large-scale work.
Byrne has been a major figure in the Scottish arts scene for over forty years, known not only for his distinctive portraiture but his writing, with a fistful of successful plays, including The Slab Boys trilogy, TV drama Tutti Fruitti, and more recent adaptions of Chekhov's plays such as The Cherry Orchard and Uncle Varick. Byrne frequently designs the stage sets for productions of his plays, and often produces the publicity artwork too.
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Edinburgh's graveyards are always a popular feature on my tours, but I tend to steer clear of the ghosts and ghouls whose stories generally populate visits to such spaces. Instead I think there's real interest to be found in the lives of the people buried here, or the other unusual features that can be found in graveyards.
So here are five more graves that have stories to tell!
David Octavius Hill
Hill was an early pioneer of photography, and in the 1840s along with Robert Adamson he created some of the earliest surviving photographic images in the world, many of them views of Edinburgh.
Some of these images feature in my walking tours, and they provide an invaluable insight into what Edinburgh was like in the middle of the nineteenth century, and show just how much (or how little) parts of it have changed.
Hill's second wife was Amelia Robertson Paton, herself an artist and sculptor who exhibited work at the Royal Academy, and who carved several of the decorative figures on the iconic Scott Monument in Princes Street Gardens.
When Hill died in 1870, Amelia Hill produced a bronze likeness of her husband's head to stand over his grave, as it still does today. Amelia was buried alongside her husband, under her sculpture of him, in the Dean Cemetery, to the north west of the city centre.
George Buchanan was one of Scotland's greatest thinkers and academics during the sixteenth century, at a crucial time in the nation's history.
Having been born in Stirlingshire in 1506, as a teenager Buchanan studied abroad at the University of Paris and he held professorial positions in a number of European universities before returning to Scotland in 1537.
King James V of Scotland employed Buchanan as a private tutor to his son James, and later would teach the king's daughter, Mary, Queen of Scots.
Buchanan was a Catholic but also supported the rise of Protestantism across Europe, and in 1567 he was appointed moderator of the General Assembly of the post-Reformation Church of Scotland. He became the personal tutor to Mary's son, soon to be James VI of Scotland, and is held responsible for the boy's devout adoption of the Protestant faith, as well as his fierce obsession with the supernatural and witchcraft.
Buchanan died in Edinburgh in 1582 and was buried in Greyfriars Kirkyard. The stone and decorative panel above his grave today is a later replacement of the original stone.
Not all of Edinburgh's burials are in the city graveyards - to the south of the city in the residential area of Bruntsfield is the grave of John Livingston, a seventeenth-century apothecary or chemist who died of the plague - known as the Black Death - in 1645.
It's likely that Livingston caught the disease from the patients he treated. Many of the city's plague victims were buried in communal graves beyond the city boundary, in the area today known as Morningside, in order to try to stop the spread of the disease through the city's population.
Shortly before his death Livingston had bought an expansive property set in an area of its own land between Bruntsfield and Morningside, a glorious setting between the city and the countryside where he planned to retire and live a life of comfort. Unfortunately he only lived at the property for nine years before contracting the plague, and was buried as per his wishes in the grounds of the property.
Over time that property was divided up and sold and turned into a popular residential district, and Livingston's grave remained a contentious feature of the local area even until fairly recently.
William Hey Hodgson
Never heard of William Hey Hodgson? That's okay, there's probably no reason why you should know his name! The story with this grave doesn't relate to the person buried so much as the circumstances of the death and burial.
Hodgson was a doctor from northern England, who was probably in Scotland on holiday or for work. What we do know is that - according to his grave in the New Calton Burial Ground - he was "unfortunately drowned in the Firth of Forth by the upsetting of a boat".
I was amused by this initially as I thought it seemed like an unnecessary level of detail - unless it was clarifying that he wasn't drowned as a result of being held under against his will! But on closer inspection I found another detail (which is the whole reason I point this stone out to visitors)...
The Firth of Forth is the body of water which boundaries Edinburgh to the north, the tidal estuary of the river Forth as it flows into the North Sea. But on Hodgson's grave, the text actually described him being "unfortunately drowned" in the Frith of Forth - the misspelling almost as unfortunate as the accident itself.
Poor William Hey Hodgson - not just unfortunately drowned, but spending the whole afterlife with a spelling mistake on his grave!
Lyon had arrived in Edinburgh from Prussia in the 1780s, and was a Jewish dentist and chiropodist who practiced from his rooms on the Canongate, on the Royal Mile.
In 1795 Lyon bought a plot of ground to use as his family's mausoleum - at that time the city had no Jewish burial ground, and Lyon's plot was the first recorded Jewish burial in the city. It cost him £17, which was a significant sum of money in the late eighteenth century.
It was also notable for being on the top of Calton Hill! The council were entertaining ideas of turning the hill into a necropolis, and Lyon was the first person to agree a bill of sale for a plot of land. Shortly thereafter the council's plans changed, and an observatory was built instead - but Lyon's ownership of his piece of land was legally binding, and on his death Lyon was buried in his subterranean mausoleum, along with his wife.
The entrance to the burial is hidden from view, overgrown with grass and kept (deliberately) concealed from public access, but it is on the northern edge of the summit of the hill, just beyond the wall of the observatory.
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In 2005, UNESCO named Edinburgh as the world's first City of Literature, thanks to the number and variety of bookish influences that can be found here. From familiar names like Robert Louis Stevenson and Walter Scott to contemporary figures like JK Rowling and Ian Rankin, Edinburgh's streets have influenced novels, plays, poems and works of non-fiction right through history.
So soaked in verbiage is Edinburgh that you can find many examples of poetry and literature inscribed literally in the stone of the city! Here are just a few examples of the words on the streets of Edinburgh...
A good place to start looking for street poetry is on Makar's Court.
In Scots a 'makar' is a poet (a bit like a 'bard' in ye olde English) and to celebrate a whole host of Scottish poets, one of the lanes of the Old Town has been given a distinctly poetic feel.
Lady Stair's Close is also home to the Writers' Museum, but if you cast your eyes downwards on your way to the museum you'll find all kinds of short quotes from a variety of Scottish writers in the paving stones at your feet.
Many of these quotes relate specifically to Scotland, or in the case of the quote above, to Edinburgh itself. A bit like this one:
This quote, from local author Alexander McCall Smith, is one of my favourite descriptions of Edinburgh, and you'll find it on the wall of one of the new buildings on Morrison Street, built to house the expanded Edinburgh International Conference Centre.
The golden coloured sandstone is typical of Edinburgh's stone, and the quote stretches a good distance along the street, hence the slightly strange waves in the picture - it's hard to get the whole thing in frame even with a panoramic feature!
This short poem is one I only discovered quite recently, despite walking miles through the city every year... It's in the pavement at the front of the new Scottish Parliament building at Holyrood, and it's a little hard to read because of the colour of the stone in which it's inscribed. It reads:
Look. What can you see?
I see beauty in the lochs
I see majesty in the mountains
I see legend in the rocks
And it is ours.
The poet is Robert Adam - not the celebrated architect who gave Edinburgh its classical style, but a 14-year old school boy who won a competition to have his poem featured in the parliament complex. I think it's rather lovely.
At another entrance into the parliament building - not one used by the public, alas - is another piece of text that has a poetic quality.
It's a passage from the Bible (1 Corinthians 13:1, if you want chapter and verse!) translated into Scots that was deemed to have a particular resonance for the new Scottish parliament when it was being established in the late 1990s.
The original text reads: "If I speak in the tongues of men or of angels, but do not have love, I am only a resounding gong or a clanging cymbal."
There's also a rather interesting poem in the ground outside the University of Edinburgh's main library building on George Square... It is the world's only circular mesostic poem! (No, me neither...)
Have a look at it - start reading from the word 'our' and go clockwise:
A mesostic poem is a bit like an acrostic, where a text is constructed around the letters of a word or phrase that the poem also describes. This example is by the artist Alec Findlay and was commissioned by the University of Edinburgh in 2009, with the letters indicated with dots spelling the phrase 'thair to reman' ("there to remain"), which was taken from the will of the first benefactor of the library itself.
Not all the text that you'll find in the city is poetry or art. Some of it just helpful, like this panel in the Grassmarket which describes the geological activity and interaction between volcanic rock and movement of glaciers which created the city's landscape itself, known as a 'crag and tail' formation:
Most of the text you'll find in the city are quotations on lintels of doorways - 'Blest be God for all his giftis' [sic] occurs fairly frequently - and dates of construction. These indicators are always worth looking out for, as they give a real sense of the city's history, and are a direct connection to the people who built and shaped the city over the years.
And some of the text you'll find is pure graffiti, which can often be amusing and insightful, so long as it isn't actively damaging the fabric of the city or detracting from the historic features.
This example continues to make me smile every time I walk past it! (Shoes: model's own.)
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Visitors often remark on the number of church buildings in Edinburgh that no longer serve as churches. Over time, as population changes have seen people come and go, very many buildings have been repurposed, renovated, and given new functions. At least two former churches today house casinos, one is an indoor climbing centre, and several have been turned into bars and restaurants...
Of course many churches, like St Giles' Cathedral or the churches at Greyfriars and Canongate, remain active as churches, but here is a very short list of some of the former church premises that you may still have reason to visit during your time in Edinburgh.
THE HUB (FORMERLY ST JOHN'S HIGHLAND TOLBOOTH CHURCH)
Built on Castlehill on the Royal Mile in the 1840s, St John's Highland Tolbooth Church functioned as a meeting place for the Church of Scotland clergy during their annual general meetings, which today are held just across the road at the New College building.
The 74m spire is still the highest of all the church spires of the Old Town, and the golden cross at the top is the highest point in the city centre, standing taller than the flagpole at Edinburgh Castle. As such it's a useful reference point for navigating the city, visible on the skyline from almost every edge of Edinburgh, but the building itself is also an important venue in the city every summer, as it is home to the administrative offices of the Edinburgh International Festival.
As well as their office space, The Hub (as it is known) has a popular café, a box office for festival events, and a large internal space that is well used for weddings, conferences, and special events throughout the year.
EDINBURGH FILMHOUSE (FORMERLY UNITED ASSOCIATED SYNOD CHURCH)
Dating from the 1830s, this former church building on Lothian Road was converted into a cinema in the late 1970s, and today is home to the annual Edinburgh International Film Festival, as well as hosting a variety of arthouse and blockbuster screenings all year round.
WEST REGISTER HOUSE (FORMERLY ST GEORGE'S CHURCH)
At the west end of the New Town, on Charlotte Square, is the former St George's Church, converted into municipal function in the 1960s and today housing one of Scotland's records and archive offices, for people tracing family history through archive records.
The church took its name from the original square, intended to be St George Square (to mirror St Andrew Square at the east end of the city) and was initially designed by the architect Robert Adam. Adam's plans were modified by Robert Reid, including the installation of a stunning dome modelled on St Paul's Cathedral in London. The church served its community from the 1820s until structural concerns in the middle of the twentieth century saw it repurposed as its current function.
The former congregation weren't left homeless, and they moved in with the congregation at St Andrew's Church on George Street, which became St Andrew's and St George's, as it is today.
BEDLAM THEATRE (FORMERLY NEW NORTH FREE CHURCH)
Utilised today by the theatre society of the University of Edinburgh, the Bedlam Theatre takes its name from the former asylum and poorhouse which used to stand on this site, at the southern end of George IV Bridge in the Old Town.
The original building was designed by Thomas Hamilton, although it was never popular with the congregation it served, who considered the building ugly and ill-suited to its purpose as a church.
The Bedlam stages student theatre through the year, and serves as a popular venue during the annual Edinburgh Festival Fringe.
QUEEN'S GALLERY (FORMERLY HOLYROOD FREE CHURCH)
Between the modern Scottish parliament building and the Palace of Holyroodhouse is a building which is today attached to the panoply of structures associated with the palace. The Holyrood Free Church was a nineteenth-century building serving the community of Holyrood at the time when it was still a densely populated industrial district. The church closed when the industries moved away, and the local population moved with them.
Today the building houses the Queen's Gallery, hosting rotating exhibitions through the year displaying artefacts and pictures from the Queen's private collection.
GLASSHOUSE HOTEL (FORMERLY LADY GLENORCHY'S LOW CALTON CHURCH)
Dating from the 1840s, this former church adjacent to the Playhouse theatre (itself on the site of a long-lost Baptist meeting house) was demolished during the renovation of the whole Greenside area in the 1960s and 70s.
Part of the conditions for its demolition stipulated that the façade of the building be preserved, and for many years (within living memory) it was propped up with steel scaffolding supports while the area around it was completed revitalised.
Today the original church frontage is incorporated into the glass and steel structure that houses the Omni cinema and a whole host of bars and restaurants, and accessed through the façade itself is the Glasshouse hotel, popular for its roof garden and rear views up to Calton Hill.
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One of the most spectacular buildings in Edinburgh's Old Town is the incredibly ornate and decorative George Heriot's School, a private school on a ridge of rock with views across to Edinburgh Castle.
The school building was paid for with money from the estate of George Heriot, who died on 12 February 1624. Heriot had been a jeweller and a goldsmith in Edinburgh in the sixteenth century, and was known by the nickname 'Jinglin' Geordie' because of the noise made by the coins and jewels rattling in his pockets as he walked through the streets of the Old Town.
Heriot became fantastically wealthy, but was also a great philanthropist and would give money to destitute families, donating coins to beggars on the street, and his generosity would later give the city the school that stands today.
Heriot had served his apprenticeship as a goldsmith, and set up his own shop on the Royal Mile near St Giles' Cathedral in one of the 'luckenbooths', or lockable stall properties, which lined the street in the late sixteenth century.
In the 1590s he began selling jewellery to Queen Anne of Denmark, the wife of King James VI of Scotland, and was later appointed as her official goldsmith.
Both Ann and James had extravagant tastes, and Heriot was able to secure some of the finest and most expensive jewellery from across Europe, which he then sold to the royal couple. They would buy the jewellery in instalments (with Heriot adding a significant mark-up to the market value), and the queen would then often seek to borrow large sums of cash from Heriot, secured against the jewellery which he had sold her.
She would repay these loans - again with a significant percentage of interest - and Heriot became fantastically wealthy from his royal patronage. In just ten years it is believed Heriot may have done over £50,000 worth of business with the queen alone, which is equivalent to multiples of millions of pounds in modern currency.
In 1601 Heriot was appointed jeweller to the king, James VI, and in 1603 when James VI of Scotland became James I of England, he removed the royal court from Edinburgh down to London, and took George Heriot with him. Thus Heriot became an integral figure in the royal court, and profited handsomely from his royal connections.
On his death in 1624, Heriot had no surviving legitimate children, and both of his wives had pre-deceased him. He did leave a provision in his will for two illegitimate daughters that had been born to separate women, as well as a number of nieces, nephews and children elsewhere in his family line. But the bulk of his estate, amounting to something over £23,000, was gifted to the city of Edinburgh, for the establishing of a hospital in his name.
Heriot's Hospital was to be dedicated to the care and support of disadvantaged families and children in the city, the "puir, faitherless bairns" as his will described them. And so in 1628, construction began on the hospital building on land to the south of the city.
The sum of money that Heriot left was so great that a huge hospital could be built with it, but at that time there simply wasn't enough open space in the city on which such a large building could be established. And so the money also paid for land to be bought which, at that time, lay just beyond the Flodden Wall, which was the structure marking the southern boundary of Edinburgh.
That piece of land had to be brought within the provision of Edinburgh itself, and an extension to the boundary wall was also built, known as the Telfer Wall, to enclose the school property. Today the junction of the Flodden and Telfer walls can be seen along the Vennel, to the west of the school building.
Having started life as a hospital, providing general social care, Heriot's later became a dedicated school for orphaned boys, and later still started accepting pupils from non-disadvantaged backgrounds. In the 1880s the school started charging for its education, and today is one of the best known private schools in Scotland. A number of free school places continue to be offered to poorer families today as part of its requirement to fulfil its obligations as a registered charitable organisation.
The school is adjacent to the Greyfriars Kirkyard, and pupils often use a side entrance to get into and out of the school property through the church yard. This side gate is generally the best angle from which to view the school, although it can be difficult to get a good view over the heads of the large Harry Potter tour groups who congregate at the gates to enjoy the view of one of the inspirations for the Hogwarts academy...
Views of the school can also been seen distantly from Victoria Terrace (above right) and the esplanade in front of Edinburgh Castle.
For thirstier visitors to Edinburgh, a pub on Fleshmarket Close is named the Jinglin' Geordie in Heriot's honour.
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Things may be looking up, but in Edinburgh you need to look down once in a while too! Not just to avoid tripping on the cobbles and the steps, but to seek out some of the smaller hidden gems and details that are set into the pavements and roadways around the city.
Here are a handful of things to look out - and down - for...
In Scots a makar is a poet, and on Lady Stair's Close in the Old Town you'll find numerous paving stones carved with text from a variety of Scottish writers. Appropriately it's the same lane where you'll find the Writers' Museum, celebrating the lives and works of Robert Burns, Walter Scott and Robert Louis Stevenson.
But take your time passing through the street itself, and check out the inspirational quotes at your feet, including this one from Stevenson himself: "There are no stars so lovely as Edinburgh street-lamps".
Keep your eyes peeled for Edinburgh's trams, running into the city centre from the airport. The new tram service opened just a few years ago, but Edinburgh had horse drawn trams from the nineteenth century, and electric ones in the twentieth century.
The original tram service was finally abandoned in the 1950s, and all the original tracks were ripped up and removed. All except one short section, left as a reminder (or possibly a warning!) to future generations... Look into the roadway at the end of Waterloo Place, near the Balmoral Hotel, for the sad reminder of the city's long-lost tram service.
The Holyrood Abbey provided sanctuary to those in debt, who would otherwise be at the mercy of Edinburgh's draconian legal system, which imposed heavily punishments for being unable to repay money that was owed. At one time the sanctuary had over 2,000 people in its care, and they were so well treated they were known as 'abbey lairds', or abbey lords...
The sanctuary itself wasn't a specific building but an entire area, within which the debtors had to stay if they wanted to remain protected from arrest, The boundary ran up to the summit or Arthur's Seat, and across the Royal Mile at Abbey Strand are a series of brass letters S's, marking a part of this original boundary line.
SCOTLAND IN A NUTSHELL
This one is a bit hard to read, both in the photo and in real life!
Look. What can you see?
I see beauty in the lochs.
I see majesty in mountains.
I see legend in rocks.
And it is ours.
These words are in front of the modern Scottish Parliament building, near the exit where visitors to the parliament make their way out, in a single granite paving stone. They are the words of Robert Adam - but not the classical architect who gave Edinburgh its classical style in the eighteenth century, but a 14-year-old school boy who won a competition to mark the official opening of the new parliament in 2005.
History is yet to demonstrate whether Adam becomes a great poet later in his life, but I rather love his short, simple, beautiful poem which seems to capture Scotland in a nutshell!
PHYSICS MADE PHYSICAL
On George Street in the New Town sits a statue of James Clerk Maxwell, a giant of physics whose pioneering investigations into the world around us yielded all kinds of results which continue to have importance today. Maxwell demonstrated that different colours of light travel at different frequencies, and paved the way for Einstein's general theory of relativity...
In the ground in front of his statue are the four equations which he said defined the physical universe. I can tell you nothing more than that - they're just numbers and squiggles to me! - although one group I had told me that in recent times Maxwell's four equations have been combined into one single statement which (apparently) comes pretty close to being a single unifying theory of the universe...
THE NEXT BIG THING
Walk across Bristo Square in the university district and you may not even notice the Old Town's largest piece of public art, commissioned by the university a few years ago.
The piece is called The Next Big Thing... is a Series of Little Things, and it's 1,600 brass dots set into the paving stones of the square, running across from the west to the east side, looking a little as though someone has dripped metallic paint across the space. The artist is Susan Collis, and her intention was that an piece of art which is almost invisible initially will become more visible with the passage of time, as people walking through the square unknowingly buff the brass dots to make them shiny... So if you don't see it now, come back in a few years when it should be more visible!
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Sometimes all we get to see of a building is its front door, especially in a city like Edinburgh where many of the historic properties are still actively used as houses or commercial premises.
I don't take tours inside any of the paid entry attractions (although I may take you into a few choice locations on our tour!) so I'm used to only seeing the outside of a building.
Here are a few of my favourite doorways of the city, with some stories about the history hidden inside...
17 Heriot Row
Heriot Row remains one of the New Town's grandest addresses, and property on the street routinely sells for in excess of £1.5 million... Notable residents of the street include the physicist James Clerk Maxwell, and John Buchan, an author best known for his adventure story The 39 Steps.
Number 17 Heriot Row was the childhood home of Robert Louis Stevenson, and it is reputedly from a drawing room window on the first floor that he would stand looking out at other children of the neighbourhood playing in the private gardens on the other side of the road. In those gardens is a pond with an island, and it may have been those early experiences which fed his later iconic adventure story, Treasure Island.
4 South Charlotte Street
Another New town address, on the corner of Charlotte Square at the west end of the city. Number 4 South Charlotte Street was the birthplace of Alexander Graham Bell, who would later go on to lodge a patent for his invention of the telephone.
It's a useful reminder that before the New Town was the commercial district we see today, this area was built as a residential area for high-status families.
2 Advocate's Close
Just off the Royal Mile near St Giles' Cathedral is one of the most picturesque of the city's closes and wynds. Advocate's Close was formerly home to one of Scotland's Lord Advocates - the highest legal figure in the country - called Sir James Stewart. Stewart's house was actually at the bottom of the lane, but this doorway near the top of the lane is a powerful reminder that some of Edinburgh's Old Town houses have been occupied for over 400 years - look at the date above the doorway to see when this property was first constructed.
As Lord Advocate, Stewart's most notable case was the prosecution of a young student called Thomas Aikenhead for blasphemy, in the 1690s. Aikenhead became the last person in the UK to be executed for blasphemy...
Further down the Royal Mile, off the Canongate, is Acheson House, built in 1633 for Archibald Acheson, a major figure in the royal court of Charles I.
The crest above the doorway features a cockerel on a trumpet, the crest of the Acheson family, and in the middle of the date is a diagram made of the letters AA and MH superimposed on each other - for Archibald Acheson and his wife Margaret Hamilton.
Into the nineteenth century the house wasn't such a grand property, having become a brothel known locally as the 'cock and trumpet'....
Today Acheson House houses Edinburgh World Heritage, the city's premier heritage and preservation body.
The churches of Scotland are often the oldest structures to have survived the passage of time, and at Duddingston is a church reputed to be the oldest on Scotland's east coast.
One former door into the church - long since closed off - has an archway and stonework which dates back to the church's Norman origins in the twelfth century.
The church remains an active centre of worship for the community.
Earl of Morton's House, Blackfriars Street
Blackfriars Street is another fascinating lane in the Old Town, widened in the 1870s from its original layout as a narrow passageway just a few feet wide.
On the west side of the street are some of the original buildings which survived the wholesale renovation of Edinburgh, including a building which was formally home of the Earl of Morton, one of the regents who ruled Scotland during the childhood of Mary, Queen of Scots.
Today the building is a youth hostel, but above its original doorway is a fascinating emblem of two unicorns, standing aside a crown. This was the royal emblem of Scotland before the union of crowns, when Scotland and England came under one monarchy, in 1603.
The later royal emblem - still commonly used today - is of a lion and a unicorn with a crown between them, but this earlier symbol is still visible on a few surviving buildings from the sixteenth-century.
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In a recent survey of all the major cities in Britain, Edinburgh came out on top with the highest percentage of green space of any other city in the UK - 49% of Edinburgh's city centre is covered by parks and gardens, the majority of them open and accessible to the public.
Here's my top picks of the city's open areas that you may want to visit while you're here!
The largest of the city's parks is also a royal parkland, owned by the monarch and also known as either the King's Park or Queen's Park. Access to Holyrood Park can be gained from a variety of places around its perimeter, but for most visitors the obvious entry point is from the bottom of Royal Mile, across from the Scottish Parliament building and adjacent to Holyrood Palace itself.
The park offers a variety of paths across and through it, and it remains an incredibly popular spot for visitors and locals alike. The eastern side of the park provides a route down to the village of Duddingston, a picturesque village with the oldest church in the east of Scotland, and what is reputed to be the oldest surviving pub in the whole of Scotland, the Sheep Heid.
For those who don't want to climb to the summit of Arthur's Seat, in the centre of the park, the Queen's Drive offers a picturesque route to walk, cycle or drive through the park, with space to stop alongside St Margaret's Loch, a small artificial lake that is home to local ducks, swans and geese.
To the south of the Royal Mile, this low lying area was formerly a swampy marshland, which provided not just a defensive function to the city, but was also a water supply known as the Burgh Loch. In the eighteenth century the land was drained in order to create communal parkland where sheep would graze, and into the Victorian period it became an especially popular piece of land for locals, with its paths lined with cherry trees, and its wide expanses of flat land.
Today the Meadows remains popular with locals, especially during the summer when its proximity to the university district makes it a haven for students gathering to soak up the sunshine, or to enjoy a barbecue. It is also the site of venues during the Edinburgh Festival Fringe, hosting circus events in a number of big tops erected on the grass.
At the eastern end of the park is a children's play area, with tennis courts nearby.
PRINCES STREET GARDENS
Originally built as private gardens for the wealthy citizens living in the grand New Town housing along Princes Street, the gardens here are today public, and remain popular with visitors and locals alike. With glorious views of the castle at the western end, and overlooked by the National Galleries of Scotland towards the east, the gardens are the dividing line between the Old and New Towns, and give a spectacular sense of the city's growth in the eighteenth century, as the city grew from the medieval city on the rock to the luxurious developments to the north.
Look out for the floral clock, planted every summer since 1903, near the entrance into the western gardens from the Mound, and the newly restored Ross Memorial Fountain at the base of the castle rock itself. On the eastern side of the Mound, the iconic Scott Monument gives you a more elevated sense of the city.
The gardens are also home to a significant number of statues and memorials - look out for Wojtek the bear, a memorial to Robert Louis Stevenson, and a statue of the explorer and missionary David Livingstone, among others. During the summer you may be able to enjoy live music from the bandstand in the centre of the park itself.
DUNBAR'S CLOSE GARDEN
A true hidden gem, which even many locals don't know about, is this small public garden space tucked away down one of the Old Town lanes near the Canongate Kirk.
The lanes originally provided access to the luxurious garden spaces built behind the grander housing that lined the bottom end of the Royal Mile, and Dunbar's Close Garden was created in the 1970s as a recreation of what these original garden spaces might have looked like.
A gravel path leads you through exquisitely planted sections with aromatic flowers and bushes - a key tool in the Old Town's battle with filth and unpleasant smells - with benches for visitors to sit and enjoy the peace and quiet. A small lawn at the bottom of the pathway attracts families looking for a picnic site in the heart of the city, and it's possible to forget for a moment or two that you're right in the midst of this bustling town.
ST ANDREW SQUARE
Another New Town space, and, like Princes Street Gardens, a space that was originally private for nearby residents. St Andrew Square was where the New Town began construction, and unlike Charlotte Square (its counterpart at the western end of George Street) St Andrew Square was made over to public access a few years ago.
Now it's become a popular place for shoppers and local people to relax with a sandwich lunch, or simply a place to rest and catch breath during a hectic shopping trip.
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Edinburgh as it is seen today has been shaped over its history by a wide variety of figures and influencers who have left their mark. People like Queen Victoria and Prince Albert made physical changes to the city itself; architects like William Playfair and Robert Adam created the style that can still be seen across the Old and New Towns; and cultural figures like Walter Scott helped to promote the city to start the visitor industry which thrives today.
Another figure to list alongside these local heroes is William Chambers, who was Lord Provost (city mayor) between 1865 and 1869, to whom the city owes a tremendous debt - here are five major effects that Chambers should be remembered for...
Edinburgh's Improvement Acts
Starting in the 1860s, Edinburgh's Old Town underwent a huge program of redevelopment, as the medieval-style structures along the lanes of the Royal Mile were proactively demolished and rebuilt to upgrade and modernise the city's poor quality housing. William Chambers was the man who led the efforts, pushing through a series of laws which made provision for the systematic improvement of the Old Town, widening the narrow closes and improving the standard of living for the thousands of people who lived there.
St Mary's Street, stretching from the World's End junction of the Royal Mile, was formerly a narrower lane called St Mary's Wynd, and the houses at the northern end of the street were the first properties built as part of Chambers's improvements. The majority of the Old Town as it stands today dates back to this period of 1860s - 1880s, and without this wholesale effort to rejuvenate the city it's doubtful that Edinburgh would have survived as well as it has.
As part of this city-wide improvement, one major thoroughfare was created which bears William Chambers's name - Chambers Street runs between George IV Bridge and South Bridge, and was previously a narrow road called College Street.
The road ran alongside the Old College of the University of Edinburgh (as it still does), but under Chambers's improvement program College Street was widened and new buildings commissioned along its length on both sides.
Today most of the buildings on the northern side of the street are associated with the University of Edinburgh (as well as Old College on the southern side) but the biggest development on the street is the National Museum of Scotland, which takes up two-thirds of the whole block.
The foundation stone for the museum was laid in October 1861 by Prince Albert, his last public act before his death in December of that year. The modern wing of the museum opened in 1998. A statue of William Chambers himself stands outside the museum.
St Giles' Cathedral Renovation
William Chambers was also responsible for supporting a major renovation of St Giles' Cathedral in the 1870s. The removal of old buildings earlier in the century had cleared space around the cathedral, and it had become apparent that the building - 700 years old at that point - was in a very poor state of repair.
Internally, too, the church had previously become cluttered, the space having been previously subdivided to house four separate churches under one roof. William Chambers financed a major renovation to create, in his words, a 'Westminster Abbey for Scotland'. The outside walls were cleaned and repaired, and the church tidied up on the inside, to create one major internal space for the first time since the 1630s.
A memorial to William Chambers can still be found inside the church itself.
Chambers English Dictionary
Chambers's profession had been a publisher and bookseller, with a shop on Broughton Street in the New Town. Along with his brother Robert he established a publishing house, and in the 1870s they first published their Chambers English Dictionary - the book remains in print, although modern editions have only been published in digital format. The thirteenth edition of the Chambers Dictionary was published in 2014.
In its early days the dictionary was notable for its accessible and wryly constructed definitions of words, such as describing an eclair as "a cake, long in shape but short in duration"...! Until 2005 Chambers Dictionary was used by the international Scrabble organisation, to provide the words recognised in their Official Scrabble Words dictionary.
Probably the most enduring gift that William Chambers gave to Edinburgh is one of its most popular local myths. In 1867, at a time when stray dogs in the city were liable to find themselves rounded up and drowned in the Water of Leith, Chambers bought a licence for one stray dog who had started to garner attention from visitors to Greyfriars Kirkyard.
The story of a former nightwatchman's dog sleeping on his master's grave was appealing to visitors even at that time, and William Chambers realised that, alongside the improvements to the city, Bobby could offer a valuable boost to the city's visitor profile. The licence he bought had no time limit - it would last in perpetuity - and thus the legend of Greyfriars Bobby was born!
Bobby would reputedly spend 14 years sleeping on his master's grave, and visitors can still view the licence, collar and bowl that William Chambers bought for Bobby in the Museum of Edinburgh, on the Canongate section of the Royal Mile. Bobby's grave and statue remain popular highlights for visitors even today.
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One of the most common enquiries I get from visitors planning a trip to Edinburgh relates to the Old Town's reputation for having an underground or hidden city beneath the surface of the streets.
There is a degree of truth to this, although it's worth noting that, in the spirit of attracting tourists, the 'underground' features of Edinburgh are not always quite what they might seem.
Built on a dense rib of volcanic rock, the practicalities of digging deep into the landscape was a problem for even very early settlers - Edinburgh Castle's great weakness was its lack of water supply, with only a relatively shallow well dug into its rock to hold rainwater. So the imagery of an underground city dug into the rock beneath the streets is somewhat inaccurate - as are the descriptions of catacombs or tunnels beneath the Royal Mile.
But here are three 'underground' features in the city that may be worth exploring.
MARY KING'S CLOSE
Streaming off the Royal Mile down the steep landscape on either side are a series of narrow lanes, the 'closes' or 'wynds' of the medieval city. Mary King's Close was one such lane, that was originally open to the sky with towering blocks of tenement housing rising up on either side of the street. Edinburgh was a vertical city rather than a horizontal one for much of its history, resulting in densely packed structures reaching up to 12 storeys high in places.
During the eighteenth century, plans were drawn up for a Royal Exchange, an area of trade offices and business premises in the heart of the Old Town. Unfortunately, as throughout its history, there was little open land available for development, and so the decision was made to partially demolish the buildings along the line of Mary King's Close, to reduce the structures to the level of the Royal Mile. Having taken the tops off the houses, the Royal Exchange building (today the City Chambers) was built over the structures that survived on the hillside below the level of the High Street.
Mary King's Close thus became 'underground', concealed beneath the newer building, and the street remains there today, cobbled and running down between two lines of structures, where costumed guides will lead you through the buildings to give you an atmospheric sense of Edinburgh's past.
The only genuinely 'underground' attraction in the city is located a little further from the city centre. Beneath the major junction of Gilmerton crossroads is a network of tunnels carved out of the sandstone of the area, and they remain one of the city's genuine mysteries - local historians can't agree on when the tunnels were created, by whom, for what purpose, or even how extensive they are.
Some people suggest they date back to Roman or even pre-historic times, while others suggest they were created much more recently, in the seventeenth or eighteenth centuries. The scale of the network makes it unlikely one single person was responsible for them, but there's no record or evidence of an organised period of construction and development.
Chambers with what seem to be seating or tables surfaces have been carved from the stone, and narrow tunnels connects them together, accessible only through a small flight of stairs taking you beneath the modern building visible at street level.
Gilmerton Cove is my most highly recommended 'hidden gem' of Edinburgh - take a brief tour with one of the local historians to find out some of the theories and ideas about the tunnels, and then take a torch and a hard hat to explore them further on your own, at your leisure... if you dare!
SOUTH BRIDGE VAULTS
Running over the glacial valley to the south of Royal Mile are two elevated roadways, South Bridge and George IV Bridge, built to improve access into the city in the eighteenth and nineteenth centuries. Both bridges run on a series of arches over the landscape, concealed by the buildings constructed alongside each of them, and these vaulted spaces beneath the roadways are still there, and many remain accessible.
George IV Bridge hosts a major festival venue called Underbelly during the summer, with performance spaces in the old arches of the bridge itself. But it is South Bridge, the older of the two developments, which is accessible year-round by visitors on ghost tours.
The bridge was built in the 1780s, and following the increase in population in the city at that time, many poorer families moved into the enclosed, subterranean arches to make their homes in these dank, dark spaces. The vaults were forgotten about following efforts in the nineteenth century to move people into better quality housing, when the spaces were closed off to prevent people moving back into them. They were only rediscovered by accident in the 1980s, and have since become popular spaces for ghost tours, nurturing a reputation for being prodigiously haunted...
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Of the hundreds of statuesque figures which are dotted around Edinburgh - almost one statue for every street corner! - there are a handful of works produced by the same contemporary artist, Alexander Stoddart.
Stoddart was born in Edinburgh in 1959, and studied fine art and History of Art in Glasgow. He was appointed Queen's sculptor in Ordinary in Scotland in 2008, a member of the royal household in Scotland - the first such post holder was fellow Edinburger Sir John Steell, appointed by Queen Victoria in the 1830s.
Stoddart is responsible for some of the most prominent memorials in Edinburgh - look out for these familiar faces as you explore the city!
JAMES CLERK MAXWELL
Sitting at the eastern end of George Street in the New Town is James Clerk Maxwell, one of the most important and influential physicists of the nineteenth century. Maxwell shaped scientific development and thought in a variety of fields, influencing figures such as Albert Einstein, who mounted a portrait of Maxwell in his office.
Maxwell demonstrated that every colour of light operates on a different wavelength, and associated with this it was Maxwell who produced the world's first colour photograph, in Edinburgh in 1861. He also used pure maths to demonstrate that the rings of Saturn could only be made up of small pieces of dust and rock, a theory only proven with imagery in the 1970s.
David Hume was a major figure during the Scottish Enlightenment period, and is considered by many to be the greatest philosopher who ever wrote in the English language.
Born on the Lawnmarket in Edinburgh's Old Town, Hume studied at the University of Edinburgh in his early teens, before travelling through Europe and returning to the city to publish books on a variety of subjects, from human nature and religion to British history. He was later appointed librarian at the Advocate's Library, attached to the former parliament buildings on the Royal Mile.
Widely considered to be an atheist - and having written lengthy rebuttals to theist beliefs and positions - Hume also wrote about the nature of causality, that the human condition presupposes us to see links between events that cannot be proven, and that it's impossible to demonstrate that doing one thing causes another to happen. It is therefore ironic that Stoddart's statue of Hume - on the Lawnmarket, and across the road from the advocate's library - has his foot overhanging the pedestal, which visitors can rub for 'good luck'...
Another major figure of the Enlightenment - and a friend of David Hume's - was Adam Smith, another writer and philosopher who lived on the Canongate in the Old Town, and wrote what is considered the first textbook on international trade agreements, The Wealth of Nations.
Smith is deemed to be the father of modern economics for his work in the field, laying down principles of production and trade which continue to influence the world over 200 years after his death.
Smith had also travelled widely, and had plans to write 23 volumes of work detailing a variety of aspects of human nature, as well as describing the universe in which we live. Two volume in the series were published during his life - The Wealth of Nations and his Theory of Moral Sentiments - and on his death he left instruction that all unpublished work should be burned.
Smith is buried in the Canongate Kirkyard, where visitors pay tribute by dropping small coins - literally the wealth of nations - on his tombstone.
WILLIAM HENRY PLAYFAIR
William Playfair was one of the architects who created the visual imagery that we find in the city today. Just as Robert Adam had created the distinctive New Town style of buildings which pervaded in the latter half of the eighteenth century, Playfair shaped the new improved city of Edinburgh as it moved through the nineteenth century, designing buildings and monuments across the city - buildings such as the National Galleries of Scotland on the Mound, the Old College buildings of the University of Edinburgh (co-designed with Robert Adam), and a number of churches.
Perhaps most iconically was Playfair's design for the National Monument war memorial on the top of Calton Hill, intended as a recreation of the Parthenon in Athens. This neo-classical Grecian style of building - with columns and decorations - became Playfair's trademark style, and Edinburgh garnered the nickname 'the Athens of the North' partly through its proliferation of Grecian architecture.
ROBERT LOUIS STEVENSON
Another son of the city is celebrated in a memorial a short way from the city centre.
The statue commemorating Robert Louis Stevenson doesn't depict the author, but instead two figures from his book Kidnapped, sited on the side of Corstorphine Hill, the location for the characters' final meeting in the book.
Alan Breck and David Balfour are shown in Jacobite period dress at the side of the road - Balfour is the protagonist of Kidnapped, while Alan Breck is based on an historical figure of the period who was the main suspect in a notorious murder in the aftermath of the Jacobite Uprisings of 1745-6.
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In our modern age of information overload, it's easy to forget that for the majority of the world's history we have very few reliable and accurate sources of information. Very often historians and archaeologists piece together a picture of what life was like in former times, drawing on the variety of information available, and using existing knowledge to interpret new pieces of evidence.
In a city as old as Edinburgh, there are several instances where historians are unsure about the precise details of past events, and at the heart of one of those uncertainties is St Anthony's Chapel, a ruined structure on a rocky outcrop in Holyrood Park.
Today only one section of wall and a few surviving stones are visible, but at some time in its history this would have been a fairy substantial three-storey chapel building with a tower approximately 40-feet high, which would have had an intimate ground floor space just 8-feet or so wide.
Little is known about when the chapel itself was built - it's likely that the structure was associated with the major abbey of Holyrood, just a few hundred metres away at the base of Arthur's Seat, and indeed one of the paths through the park today follows the line of a historic track which directly connected the two areas. But in the 1100s large parts of Holyrood Park were under the ownership and control of Kelso Abbey in the Scottish Borders, and it's thought that the piece of land on which St Anthony's chapel sits probably fell under their jurisdiction.
In 1426, there is a record of Pope sending money as part of a grant to support repairs to St Anthony's chapel - suggesting both that it was a significant enough structure that the pope would invest in its maintenance, and that by 1426 it was old enough to be in need of substantial repairs. (It's notable that Anthony himself only died in 1231, so the chapel may have been a very early institution established bearing his name.)
Around this time, a small hospital in the name of St Anthony was operating in Leith, specifically treating patients with skin conditions - it's possible there was some connection between that establishment and the chapel at Holyrood Park.
One theory is that the chapel, as tall as it was long, was designed as a navigation aid for pilgrims heading to Holyrood, which is set lower in what for a long time was a densely wooded valley. Perhaps St Anthony's chapel would even have been visible from as far away as the Firth of Forth, the river to the north of the city, from which direction many travellers would have made their approach to the area.
Holyrood Park itself was a major destination for visitors seeking relief in the holy wells which dotted the landscape. At one time it was thought there were as many as seven wells within the boundary of the park itself, underground springs given the names of saints, along with the reputation for healing properties.
One of those wells was St Anthony's, which is one of the only two wells to survive in the park today - alas no water flows to it, but the shallow bowl can still be seen on the path beneath the chapel, and it was well known that locals would trek to this particular well on 1 May each year, to bathe in the dew and drink the water.
Other suggestions are that the chapel was a form of monastic retreat, set well away from the city (and the abbey at Holyrood) where it would be possible for monks to experience a form of solitude and isolation. There are the remains of what may have been a monastic cell or a store cupboard built into the rock just to the south of the chapel itself, and early investigations of the site uncovered a number of shallow graves in the vicinity of the structure.
More than that, nobody seems to know! Written records from before the seventeenth-century are relatively scarce, and the chapel would likely have been ruined by that time.
So for all its history and archaeological interest, Edinburgh as a city is one that still holds secrets, and new discoveries are being made fairly regularly as the city continues to grow and develop. For my part, though, I rather like that we don't know all the answers - I prefer my history to have a touch of mystery about it, too!
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Edinburgh's city centre (and, indeed, its surrounding areas) are packed with a multitude of churches, their spires and towers rising above the surrounding buildings.
Many church buildings in the city have been converted from ecclesiastical use, but one still functional church rises above (almost) all of them, and can be seen on the skyline from right across the city - I'd go as far as to say it's a more prominent feature than Edinburgh Castle itself!
St Giles' Cathedral is the largest of Edinburgh's Old Town churches, and sits right on the Royal Mile at the heart of the medieval city. The building is named for the patron saint of Edinburgh, St Giles, a Greek hermit who spent much of his life living in solitude in France. The church itself was established in the twelfth century, and the building has been developed and under almost continuous rebuilding until the nineteenth century.
Despite its name, St Giles is actually not technically a cathedral... In 1560, Scotland changed from being a Catholic country to a Protestant one, and part of this major social Reformation was for the church to get rid of the power structures imposed by bishops. Since a cathedral is (by definition) the seat of a bishop, and as the Church of Scotland no longer has bishops, the building at the heart of the Old Town is the High Kirk of St Giles.
It was the minister of St Giles' at that time, John Knox, who led the Reformation in Scotland, and he is commemorated with a statue in the church, as well as being buried in the former graveyard (now Parliament Square) just outside it.
At other times in its history, as the Church of Scotland underwent a number of shifts and changes, St Giles' became sub-divided and hosted no fewer than four separate churches under its roof, each with a separate congregation and preaching different interpretations of the same basic text. Today the building is reunited as a single church, and continues to be a popular venue for weddings, regular services, and live music.
The distinctive crown tower at the top of St Giles' - more properly known as a lantern tower - was added in the 1490s, and is one of only a handful of such structures in Scotland. It is this feature which can be seen above the rooftops of the city from miles around. Access to the tower for small groups is available on tours of the cathedral, giving visitors a unique perspective over the city centre.
Other highlights of the building include the Thistle Chapel, a highly decorative chapel at one corner of the building which was built in 1911. Knights of the Order of the Thistle, a chivalric honour bestowed on a maximum of 16 people at any single time, and dating from the seventeenth century, are celebrated here. Near the entrance to the Thistle Chapel is an original copy of the National Covenant, a document created and signed at nearby Greyfriars Kirk in 1638, demanding freedom and independence for the Church of Scotland from the monarchy.
The church also has a large stained glass window commemorating Robert Burns, Scotland's national poet, above the main entrance on the west side of the building. A variety of other figures from Edinburgh's history have memorials inside the church, including the author Robert Louis Stevenson, medical pioneers Elsie Inglis and James Young Simpson, and warring nobles Argyll and Montrose.
Access to visit the church is free, but with donations requested.
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