Daily Archives: 19 June, 2024

National Galleries of Scotland: Portrait (Edinburgh, Scotland, U.K.)

Posted on by — Leave a reply

National Galleries of Scotland: Portraits. Sculpted figures of noted Scots, set in niches and designed by William Birnie Rhind, can be found around the corner.

National Galleries of Scotland: Portrait, an art museum  holding the national collections of portraits (some 3,000 paintings and sculptures, 25,000 prints and drawings), all of which are of, but not necessarily by, Scots, also holds the Scottish National Photography Collection of 38,000 photographs.

The entrance to the museum, guarded by statues of William Wallace and Robert the Bruce, leads to the main entrance hall,

It is part of National Galleries Scotland, a public body that also owns the Scottish National Gallery of Modern Art and the Scottish National Gallery in Edinburgh.

The arcaded Main Hall

It is the first in the world to be specially built as a national portrait gallery (the National Portrait Gallery, London, established in 1856, was the first such separate museum in the world but it  did not move into its current purpose-built building until 1896).

The Battle of Stirling Bridge (William Brassey Hole)

The Good Deeds of King David I (William Brassey Hole)

Here’s the historical timeline of the museum:

  • In 1780, the Society of Antiquaries of Scotland was founded by the David Erskine, 11th Earl of Buchan. Its members donated items of interest. The mildly eccentric Erskine also formed a collection of Scottish portraits, many of which are now in the museum.
  • In 1781, the society bought the Antiquarian Society Hall, located between the Cowgate and Parliament Close, just to the west of Old Fishmarket Close, as a place to properly store this material.
  • From 1826, it rented space in the Royal Institution at the foot of The Mound, owned by the Board of Manufactures.
  • By 1851, its collections were in 24 George Street
  • In November 1851, it agreed with the Board to make the collections National Property, with the government to provide continuing accommodation for the collections and for the Society’s meetings.
  • In 1858, as part of the 1851 agreement, the collections were moved back to the Royal Institution.
  • In 1882, John Ritchie Findlay, owner and chief proprietor of The Scotsmannewspaper, endowed a new building on Queen Street, costing £50,000, designed by architect Sir Robert Rowand Anderson to accommodate both the antiquities collections and the portraits of the Society of Antiquaries of Scotland. That same year, the portrait gallery was established before its new building was completed.
  • In 1885, construction of the building began.
  • In 1889, the building was opened under curator John Miller Gray. When it opened, a large Main Hall, at the center of the façade, formed a shared entrance to the two institutions with Portrait occupying the east wing of the building, and the Museum of Antiquities taking up the west wing.
  • In 1890, the building was completed.
  • In 1985 the National Museum of Antiquities of Scotland was amalgamated with the Royal Scottish Museum, and later moved to Chambers Street as part of the National Museum of Scotland.
  • in 2009, the Museum of Scotland (the former National Museum of Antiquities) moved to a new building.
  • In April 2009, the first comprehensive refurbishment in its history, carried out by Page\Park Architects, was undertaken, with funding from the Scottish Governmentand the Heritage Lottery Fund, amongst others. Portrait was expanded to take over the whole building. The gallery spaces were restored to their original layout (removing false walls, lowered ceilings, opening up windows, restoration of the great coved ceilings on the upper floors on the west side, and revealing hidden Victorian details like the elegant stone arcade in the Ramsey Room), with areas set aside for education, a new gallery specially earmarked for photography, the decent size shop & café, and a new glass lift—greatly improving access for disabled visitors. After the changes, Portrait has 60% more gallery space. The cost of the refurbishment was £17.6 million.
  • On December 1, 2011, the museum was reopened with 849 works displayed, of which 480 were by Scots.

Heroes and Heroines Gallery. At left is a portrait of Charles Kenneth Scott-Moncrieff done by Edward Stanley Mercer.

The Modern Portrait Gallery. At right is a portrait of Sir Charles Grant Robertson done by Meredith Frampton

The Remaking of Scotland

The large, symmetrical,  three-level building, at the east end of Queen Street, was built with red sandstone from Corsehill in Dumfriesshire.  It comprises 5,672 sq. m. and is a Category A listed building.

John Ritchie Findlay of Aberlour (George Reid)

Built in Gothic Revival (with a combination of Arts and Crafts and 13th-century Gothic influences) style, it is noted for its ornate Spanish Gothic style (an unusual addition to Edinburgh’s mostly Georgian Neoclassical New Town) with carved, pointed arched windows and a main entrance, on the Queen Street front, surrounded by a large gabled arch.

Jandy beside a portrait of Sir Winston Churchill done by Sir James Guthrie

Grace beneath a portrait of Henry, Prince of Wales done by Robert Peake

The entrance, guarded by statues of William Wallace and Robert the Bruce, leads to the main entrance hall, arcaded with pointed arches, which originally served both Portrait to its east, and the National Museum of Antiquities of Scotland to its west. The gallery’s distinctive feature is its four octagonal corner towers topped with crocketed Gothic pinnacles.

Portrait of Mary Queen of Scots done by an unknown artist after Francois Clouet

Another portrait of Mary Queen of Scots also done by an unknown artist

Sculpted figures of noted Scots, set in niches and designed by William Birnie Rhind, can be found around the exterior.  Added in the 1890s, they compensate for the lack of contemporary portraits of medieval Scots in the gallery’s collection at the time.

Henrietta Anne, Duchess of Orleans (Jean Nocret)

General Sir James Hope Grant (Sir Francis Grant)

The large processional or pageant frieze, its mural painted by William Hole inside the main entrance hall balustrade, was added in 1898.  Depicting an array of notable Scots from history in reverse chronological order, these figures were added to the frieze over the years after the gallery opened.

Sir William Brice (John Michael Wright)

Sir Thomas Strange (John Hoppner)

Starting with Thomas Carlyle, it includes David Livingstone, James Watt, Robert Burns,  Adam Smith, David Hume, the Stuart monarchs, Robert the Bruce and  Saint Ninian.  Later, Hole added further large mural narrative scenes on the first floor.

Alexander Henderson (Sir Anthony van Dyck)

David Hume (Allan Ramsay)

The museum’s collection essentially begins in the Renaissance, initially mainly with works, of Scottish royalty and nobility, done by foreign artists, as well as mainly printed portraits of clergymen and writers.

Bust of Arthur Wellesley (Sir John Steell)

Bust of Hugh Miller (William Brodie)

The most notable paintings were mostly made on the Continent, often during periods of exile from the turbulent Scottish political scene. Religious art, as in England, has been all but extinguished by the Scottish Reformation.  Until the 19th century, Scottish painting was dominated by portrait painting, with patrons gradually extending down the social scale and, in the 16th century, most painted portraits are of royalty or the more important nobility.

Bust of Queen Victoria (William Brodie)

Bust of Sir David Wilkie (Samuel Joseph)

A portrait of James IV of Scotland, from 1507, is the oldest work in the collection.  There are also two portraits of Mary, Queen of Scots, one painted some 20 years after her death in 1587, and the other is later still. A number of 19th-century paintings also show scenes from her life. Her three husbands also have portraits, including Darnley by Hans Eworth and an unknown painter, and miniatures from 1566 of Bothwell and his first wife.

Statue of Robert Burns (John Flaxman)

Statue of James Clerk Maxwell (Alexander Stoddart)

There is a portrait of Regent Morton, Mary’s nemesis, by Arnold Bronckhorst from 1581.  Although he only spent about three years there, Bronckhorst is the first artist to hold the title of “King’s Painter” in Scotland. The gallery holds several works by Bronckhorst, and his successor, Adrian Vanson, who were both skilled painters in the Netherlandish tradition. The collection includes portraits, of Stuart monarch James VI and I, by Bronckhorst and Vanson.

George Seton with Sons (Adam de Colone)

Flora Macdonald (Richard Wilson)

George Jamesone (1589/90-1644), the first significant native Scot to be a portrait painter, only once got the chance to paint Charles I, his monarch, when he visited Edinburgh in 1633.  Two Jamesone self-portraits and portraits of the Scottish aristocracy, as well as some imagined portraits of heroes of Scotland’s past. are included in the collection.

Robert Louis Stevenson (Count Girolamo Nerli)

Sir Henry Duncan (George Reid)

There are also three portraits by John Michael Wright, Jamesone’s talented pupil, plus ten aristocratic portraits by Sir John Baptist Medina, the last “King’s Painter” before the Acts of Union 1707.

Elizabeth Hamilton (Sir Henry Raeburn)

David Scott (Tilly Kettle)

The museum has one of the earliest examples of portraits featuring tartan, which begin to be painted in the late 17th century (at that time apparently with no political connotations), a full-length 1683 portrait, by John Michael Wright, of Lord Mungo Murray, son of John Murray, 1st Marquess of Atholl, wearing a belted plaid for hunting.

Lady Anne Hay, Countess of Winton (Adam de Colone)

Prince Charles Edward Stuart (Louis Tocque)

After the 1745 Jacobite Rebellion, the wearing of tartan was banned but, after a few decades, reappears in grand portraits, before becoming ever more popular with Romanticism and the works of Sir Walter Scott. after her arrest for helping Bonnie Prince Charlie to escape after the 1745 Jacobite Rebellion, Flora MacDonald was painted by Richard Wilson , also wearing tartan, in London.

General Thomas Dalyell (L. Schuneman)

Prince James Francis Edward Stuart (Anton Raphael Mengs)

In the 18th century, Scottish portrait painting flourished and Allan Ramsay and Sir Henry Raeburn, with 13 and 15 works respectively, are well represented, Sir Henry Raeburn with many paintings of figures from the Scottish Enlightenment, as well as the recently acquired lost portrait of Charles Edward Stuart.

Self Portrait (Francis Campbell Boileau Cadell)

The career of Sir Henry Raeburn extends into the 19th century, with portraits of Walter Scott and others. The museum owns the iconic portrait, by Alexander Nasmyth, of Robert Burns .

Robert Burns (Alexander Nasmyth)

Self-Portrait (Sir Henry Raeburn)

Sculptor and gem-cutter James Tassie (1735–1799) has the largest number of works, by a single artist, with 58.  With 18th century Scottish high society subjects including Adam Smith, James Beattie and Robert Adam (he disliked having his portrait taken but Tassie was a member of his social circle he did not refuse, with the result that, as with the Naysmyth portrait of Burns, almost all images of Smith derive from the exemplar in the museum), Tassie, along with Irish physician Henry Quin, developed a distinctive format of large fired glass paste (or vitreous enamel) relief “medallion” portraits in profile, initially modelled in wax.

Portrait Medallions (James Tassie)

Despite no such dominant figures, the later 19th century in Scotland had many fine artists, and saw the beginning of photography. A gallery, in the museum, is devoted to the photographs of Glasgow life taken by Thomas Annan. In general, the displays concentrate on the common people of Scotland, especially the images of slums taken from 1868 to 1871.

Tilda Swinton (John Byrne)

Sean Connery (John Bellany)

In the present day, the collection continues to expand, with Scottish painters such as John Bellany (includes a self-portrait and portraits of Peter Maxwell Davies and Billy Connolly) and John Byrne (his works include images of himself, Tilda Swinton, Billy Connolly and Robbie Coltrane).

Womb From Womb (William Crosbie)

Billy Connoly (John Byrne)

Other works in the collection include portraits of James Hamilton, 1st Duke of Hamilton (by Daniel Mytens), Douglas Douglas-Hamilton, 14th Duke of Hamilton (by Oskar Kokoschka), Winnie Ewing (by Norman Edgar), Alex Ferguson (by David Mach), Ian Wilmut (by Wendy McMurdo) and Robin Jenkins (by Jennifer McRae).

Library & Print Room

The Library & Print Room has displays that show artistic experimentations with portraiture from the 17th century to contemporary times.  It also houses a wealth of research resources on Scottish portraiture as well as the personal library of American documentary photographer Eve Arnold gifted by her family.

Portrait of King Charles III (Victoria Crowe)

There’s also a collection of about 400 portrait miniatures including works by Nicholas Hillard, John Hoskins and Samuel Cooper.

Photo of Rose Reilly (Jeremy Sutton Hibbert)

National Galleries Scotland: Portrait: 1 Queen Street, Edinburgh EH2 1JD Scotland. Tel: +44 131 624 6200. E-mail: enquiries@nationalgalleries.org. Website: www.nationalgalleries.org. Open daily, 10 AM to 5 PM. Coordinates: 55°57′19.5″N 3°11′36.9″W.

National Gallery of Scotland Modern Two (Edinburgh, Scotland, U.K.)

Posted on by — Leave a reply

National Gallery of Scotland Modern Two

The National Gallery of Scotland Modern Two, formerly the Dean Gallery, is one of the two buildings housing the Scottish National Gallery of Modern Art, one of Scotland’s national art galleries. Operated by National Galleries Scotland, it is twinned with Modern One which lies on the opposite side of Belford Road.

Check out “National Gallery of Scotland Modern One”

The English-Baroque facade

It is home to a changing program of world-class exhibitions and displays drawn from the permanent collection. During our visit, On permanent display is a recreation of the Scottish sculptor Eduardo Paolozzi‘s studio, as well as his magnificent, 7.3 m. high sculpture, Vulcan, that dominates the the Paolozzi’s Kitchen (named after the Scottish sculptor), reaching from the floor to the ceiling.

One of the tower, over staircases, that contain chimneys

The museum is housed in a English Baroque-style building, with Classical detail, which started out as the Dean Orphanage (the subject of a watercolor painting c.1830 by Thomas Hamilton).  Built in Craigleith stone from the nearby quarry, it took three years to build. Contributing to the Edinburgh skyline, in the west of the city center, are the towers, over the staircases, that contain chimneys. Above the entrance is a clock that came from the original Orphan Hospital and, in turn, from the 1764 demolition of the Netherbow Port on the High Street, which formerly separated the High Street from the Canongate.

The exhibit space

For many decades, this building, owned by the City of Edinburgh Council, served as the Dean Education Centre before its conversion into a gallery designed by the architect Terry Farrell and Partners. In 1999, the gallery opened opposite the existing Scottish National Gallery of Modern Art. In 2011, both buildings were rebranded Modern Two and Modern One, respectively.

the 73 m. high Vulcan sculpture of Eduardo Paolozzi (1989)

Modern Two houses the Paolozzi Gift, a collection of works by Sir Eduardo Paolozzi, given by the artist to the Scottish National Gallery of Modern Art in 1994, as well as the gallery’s world-famous collection of Surrealism (including works by Salvador Dalí, René Magritte and Alberto Giacometti) and a large collection of Dada and Surrealist art and literature largely made up by the collections of Roland Penrose and Gabrielle Keiller.

Modern Two also houses temporary exhibitions, a library (its great strengths are Dada and Surrealism, early twentieth century artists and contemporary Scottish art), an archive and a special books collection.

Two Lines Up Excentric VI (George Rickey, 1977, stainless steel)

The archive, containing over 120 holdings relating to twentieth and twenty-first century artists, collectors and art organizations, including the gallery’s own papers, holds one of the world’s best collections of Dada and Surrealist material. The special books collection, containing over 2,500 artist books and limited edition livres d’artiste (again with a main focus on Dada and Surrealism), also contains books by other major artists from the twentieth century including Oskar Kokoschka‘s Die Träumenden Knaben (1917) and Henri Matisse’s Jazz (1947), all available to the public in the reading room which is only open to the public by appointment. The Gabrielle Keiller Library hosts regular changing displays that showcase items from these collections.

Master of the Universe (Eduardo Paolozzi, 1989)

Modern Two is surrounded by a sculpture garden with a number of modern and avant-garde works on display, including Gate (1972) by William Turnbull, Two Lines up Excentric VI (1977) by George Rickey, La Vierge d’Alsace (1919–1921) by Emile-Antoine Bourdelle, There will be no Miracles Here (2007–2009) by Nathan Coley, Master of the Universe (1989) by Eduardo Paolozzi, Two Two-Way Mirrored Parallelograms Joined with One Side Balanced Spiral Welded Mesh (1996) by Dan Graham, Macduff Circle (2002) by Richard Long, and Escaped Animals (2002) by Julian Opie.

National Gallery of Scotland Modern Two: 75 Belford Rd, Edinburgh EH4 3DR, United Kingdom.  Tel: +44 131 624 6200.  E-mail: enquiries@nationalgalleries.org. Website: www.nationalgalleries.org.  Open daily, 10 AM to 5PM. Coordinates: 55°57′06.52″N 3°13′26.75″W.

National Gallery of Scotland Modern One (Edinburgh, Scotland, U.K.)

Posted on by — Leave a reply

National Gallery of Scotland Modern One

The National Gallery of Scotland Modern One, with its renowned collection of more than 5,000 items dating from the late 19th century to the present day, is housed in the former Watson’s Institution Building which was designed, in the Greek Doric style, by William Burn (1789-1870) and completed in 1825 as the John Watson School for Fatherless Children of the Professional Classes.  Its five-bay Neo-Classical frontage has a grand, six-columned portico.

The five-bay Neo-Classical frontage

In 1979, the building, with its classrooms and dormitories, was bought by the Crown Estates Commissioners and was successfully adapted, to its new function, from 1981 to 1984.  In 2011, its name was changed to Modern One. Operated by National Galleries Scotland, it is twinned with National Gallery of Scotland Modern Two which lies on the opposite side of Belford Road.

Check out “National Gallery of Scotland Modern Two“

The museum lobby

International post-war work features art by Francis Bacon, David Hockney, Andy Warhol, Joan Eardley and Alan Davie, with more recent works by artists including Douglas Gordon, Antony Gormley, Robert Priseman and Tracey Emin and an outstanding collection of modern Scottish art.

Ah Kong – Ghost (Rae-Yen Song, 2022)

It presents works from the collection as well as a program of changing exhibitions. The early part of the collection features important Surrealist and German Expressionist art from the beginning of the twentieth century, with paintings by Giacometti, Hockney, Henri Matisse and Pablo Picasso.

Lee Miller (Pablo Picasso, 1937, oil on canvas)

Also included are works by André Derain and Pierre Bonnard, cubist paintings, holdings of expressionist and modern British art, and 20th century Scottish Colourists Samuel John Peploe, John Duncan Fergusson, Francis Cadell and Leslie Hunter.

Glacier Chasm (Wilhelmina Barns-Graham, 1951, oil on canvas)

The collection also includes ARTIST ROOMS, a collection of modern and contemporary art acquired for the nation by National Galleries Scotland and Tate with support from the National Heritage Memorial Fund, the Art Fund and the Scottish and British Governments.

?I Am Your Conduit (2014, thread embedded in handmade cotton paper)

The growing collection includes works by major international artists including Andy Warhol, Louise Bourgeois, Robert Mapplethorpe and Damien Hirst. The collection includes the larger of Roy Lichtenstein‘s In the Car pieces. The displays change on a regular basis.

Self-Portrait (Robert Mapplethorpe, 1980)

In 2002, the lawn to the front of Modern One was re-landscaped to a dramatic, award-winning (it won the prestigious Gulbenkian Prize in 2004) design by architectural historian Charles Jencks (b. 1939) entitled Landform Ueda, an eye-catching work or art in their own right.

Grace Jones (Robert Mapplethorpe, 1984, gelatin silver print on paper)

This sinuous series of grass-covered stepped terraces that rises to form a serpentine mound, with three pools of water occupying crescent-shaped hollows in between.  It also includes the remains of an 18th century windmill.

Tightrope Walker (Paul Klee, 1923, color lithograph on paper) (Copy)

Two Figures (Natalia Goncharova, ca. 1910-20, pencil and crayon on paper)

The sculpture park includes bronze works such as Personnage (1978) and Femme (Woman) (1970) by Joan Miro; Conversation with Magic Stones (1973) by Barbara Hepworth; and Reclining Figure (1951) by Henry Moore; among others.

Conversation with Magic Stones (Barbara Hepworth, 1973, bronze)

Reclining Figure (Henry Moore, 1951, bronze)

The Neo-Classical façade of Modern One is home to Martin Creed‘s Work No. 975, EVERYTHING IS GOING TO BE ALRIGHT. Modern One backs on to the Water of Leith river and walkway, which can be accessed by a long flight of steep steps behind the Gallery.

Landform Ueda (Charles Jencks)

Personnage (Joan Miro)

National Gallery of Scotland Modern One: 73 and 75 Belford Road, Edinburgh EH4 3DR, Scotland, United Kingdom. Tel: +44 131 624 6200. E-mail: enquiries@nationalgalleries.org. Website: www.nationalgalleries.org. Open daily, 10 AM to 5 PM.  Admission is free.

Museum of the Royal Scots (The Royal Regiment) and the Royal Regiment of Scotland (U.K.)

Posted on by — Leave a reply

Museum of the Royal Scots (Royal Regiment) and the Royal Regiment of Scotland

The small but very well laid-out and informative Museum of the Royal Scots (The Royal Regiment) and the Royal Regiment of Scotland, an independent regimental museum within Edinburgh Castle, displays the collections of the Royal Scots (raised in 1633 to help King Charles II to fight the Covenanters, a 17th century group of religious dissenters) and the Royal Regiment of Scotland. Both are currently co-located in the Royal Scots drill hall built in 1900.

Check out “Edinburgh Castle”

Army Life 1918-1939

Early Army Life

On June 27, 1991, following refurbishment, the building was re-opened as the Royal Scots Museum by the Princess Royal. Since it was formed in 2006, the Royal Regiment of Scotland has been building its own collection and, on May 29, 2014, the Museum of the Royal Regiment of Scotland was opened.

The Colonies and Empire

Conflict in Europe and Rebellion at Home

Turmoil in Britain

A series of pictorial wall panels, together with dioramas, tableaus, display cases and other exhibits, illustrates the history of the Royal Scots and its successor regiment, the Royal Regiment of Scotland, in chronological order, from the founding of the Royal Scots, by Sir John Hepburn, to its role in various conflicts (including recent campaigns in Iraq and Afghanistan) and peacetime.

The Revolutionary War

The Napoleonic War

The Hundred Days

Its nearly 1,000-piece collection includes uniforms, insignias, paintings, artefacts, a collection of silver, a variety of weapons (including Highland broadswords), letters home from foreign campaigns, sets of drums, chemical warfare suits, old colors, maps, medals and documents.

The Great War

The Second World War

The Honors and Awards display has an extensive medal collection including seven Victoria Crosses awarded to members of the Royal Scots. Only a small proportion of the medal collection is on display.  The rest are in drawers which can be opened on request.

Honors and Awards

Drums

Uniforms

Museum of the Royal Scots (The Royal Regiment) and the Royal Regiment of Scotland: Edinburgh Castle, Edinburgh, EH1 2YT Scotland. Open daily, 9:30 AM to 4:45 PM (3:45 PM in winter).  Admission is included in the entry fee to the castle. Tel: +44 (131) 3105014. Website:
www.theroyalscots.co.uk/museum/. Coordinates: 55.94913°N 3.20014°W.

How to Get There: The Royal Scots Museum is located at the top of the hill, just before Fogg’s Gate, while the Royal Regiment of Scotland Museum is directly opposite.

National War Museum (Edinburgh, Scotland, U.K.)

Posted on by — Leave a reply

National War Museum Scotland

The two-storey National War Museum, located on the southern side of Hospital Square (at  its center is the large equestrian statue of Marshall Douglas Haig) inside Edinburgh Castle, is a museum (the largest of three within the castle) dedicated to warfare run and managed by the National Museums Scotland.

Check out “Edinburgh Castle”

Hospital Square and the equestrian statue of Gen. Douglas Haig

Beside the museum is Butts Battery, named after the archery butts (targets) formerly placed here. Below it are the Western Defenses, where a postern, named the West Sally Port, gives access to the western slope of the rock.

25-Pounder Field Gun at the entrance

Opened as the Scottish Naval and Military Museum on May 23, 1933, by Lord High Commissioner John Buchan, in a converted 18th-century ordnance storehouse (built in the 1748 by William Skinner), it was, in 1949, renamed as the United Services Museum, recognizing the importance of the Air Force to the war effort in World War II.

Gallery 1:A Nation in Arms. This comical cherub (ca. 1720), used to decorate the Old Chelsea Bun House (a London coffee shop close to the Royal Hospital), is among the earliest representations of Scots in British military service.

Gallery 2: A Grand Life for a Scotsman

In 2000, the museum was refurbished and, upon reopening was renamed to its present name of the National War Museum. It covers 400 years of Scotland’s military history, from the 17th century, through permanent exhibits that illustrate the history and causes behind the many wars in which Scottish soldiers have been involved, and special exhibitions.

The Thin Red Line (Robert Gibb). It depicts the 1854 Crimean War action between the British forces and the Russian forces.

The building, category-B listed since 1970, has a ten-bay rectangular-plan.  The museum’s collection, housed in six galleries (Gallery 1 and 2 are in the upper floor), includes a wide range of military artefacts, used by Scotland’s armed forces, over many centuries.

Air screw from the Sopwith Baby seaplane flown by Flight Lt. Ronald Graham of the Royal Naval Air Service to shoot down a German seaplane. Note the self-inflicted bullet holes due to lack of an interruption mechanism.

They include broadswords from the Scottish Highlands; protection against chemical warfare; letters sent home from combat by personnel; military uniforms from different eras; documents; battle flags; recruitment posters; photographs (private pics,  official regimental pics, etc.), personal diaries, official documents and an impressive display of medals and decorations. It also houses a library.

A few of the India pattern muskets provided by Sir James Grant in 1794 .

The museum was easy to navigate and the displays were well laid out and presented. However, the dim lighting system made documents and the accompanying labels hard to read and understand as well as view the photos.  At the entrance is a beautifully restored 25-pounder field gun used in World War II.  Artists such as David Wilkie and John Singleton Copley are represented with paintings depicting scenes of military life.

Infantry muskets. At the upper left is a portrait of Lt. Robert Hamilton Buchanan done by an unknown artist.

Gallery 1: A Nation in Arms explores how the division between Highland and Lowland, a long coastline, and access to important sea routes have influenced Scotland’s strategic importance. 

Jacket and Waistcoat

Gallery 2: A Grand Life for a Scotsman explores the daily life of Scots servicemen, from recruitment to retirement.  On display are recruitment posters, uniforms, personal possessions and letters home. 

Medals of Gen. James MacDonell of Glengarry

Gallery 3: Tools of the Trade displays weapons, equipment and clothing that equip the individual for war such as Highland broadswords to modern rifles, protective suits to medical kits. 

Recruitment Posters

Gallery 4: Highland Soldier tells the story of the dramatic change, from Highland rebel to military exemplar, through paintings, Highland uniforms, bagpipe music and more. This gallery houses famous works such as The Thin Red Line by Robert Gibb. 

The Battle of Camperdown (William Adolphus Knell, 1848). The painting depicts the naval action, between the British and Dutch navies in 1797, where the Royal Navy was overwhelmingly victorious

Gallery 5: In Defense displays medals, mementoes, souvenirs and photographs that tell the stories of the men and women who protected Scotland on the home front. 

The Storming of Tel-el Kebir (Alphonse Marie de Neuville, 1883). It depicts the decisive moment when, after a night march, the British forces stormed the Egyptian defenses in 1882.

Gallery 6: Active Service offers a personal perspective of over 300 years of warfare through collections of medals, memorabilia and weapons relating to extraordinary individuals.

Ship’s Bell of HMS Edinburgh, a Town-class cruiser (the same as H.M.S Belfast) built on the Tyne at the Swan & Hunter shipyard, that saw much action in the North Sea and Arctic Sea before being sunk in 1942 by U-456.

National War Museum: Castlehill, Edinburgh Castle, Old Town area, Edinburgh, EH1 2NG Scotland. Tel: +44 300 123 6789.  Open daily, 9:45 AM – 5:45 PM (4:45 PM, October to March).  Admission to the museum is included in the entry charge for the castle.

Edinburgh Castle (Scotland, U.K.)

Posted on by — Leave a reply

Edinburgh Castle

The historic  Edinburgh Castle, which stands on the 130 m. (430 ft.) high Castle Rock (a crag formed from the plug of an extinct volcano, is located at the top of the Royal Mile, at the west end of Edinburgh’s Old Town. Occupied by humans during the late Bronze Age or early Iron Age, potentially making the Castle Rock the longest continuously occupied site in Scotland), it is a castle that has played a prominent role in Scottish history serving, variously, as a royal residence (until 1633), an arsenal, a treasury, a national archive, a mint, a prison, a military fortress, a military garrison (by the 17th century), and the home of the Honours of Scotland (the Scottish regalia).

Castle seen from the Esplanade

Edinburgh Castle, one of the most important strongholds in the Kingdom of Scotland, was involved in many historical conflicts from the Wars of Scottish Independence in the 14th century to the Jacobite rising of 1745.

Main Gate. Above the gate is inscribed with the Latin motto Nemo me impune lacessit  and, flanking it, are statues of Robert the Bruce and William Wallace, both added in 1929

Cared for by the Historic Environment Scotland, it is Scotland’s most (and the United Kingdom‘s second most) visited paid tourist attraction, with over 2.2 million visitors in 2019.  Over 70% of leisure visitors to Edinburgh visit the castle. During the annual Edinburgh Festival, the castle, a recognizable symbol of Edinburgh in particular and of Scotland as a whole, is the backdrop to the Royal Edinburgh Military Tattoo, a parade of the massed pipes and drums of the Scottish regiments started in 1950.

Statue of William Wallace (Alexander Carrick)

The castle is the site of the Scottish National War Memorial, the National War Museum and  the regimental museums of the Royal Regiment of Scotland and the Royal Scots Dragoon Guards (the castle is their regimental headquarters), along with that of the Royal Scots. The British Army is still responsible for some parts of the castle, although its presence is now largely ceremonial and administrative. Over the past century and a half, various restoration programs have been carried out.

Statue of Robert the Bruce (Thomas Clapperton)

Edinburgh Castle, in the ownership of the Scottish Ministers as heads of the devolved Scottish Government, is run and administered, for the most part, by Historic Environment Scotland, an executive agency of the Scottish Government, while the Army still remains responsible for some areas, including the New Barracks block and the military museums. Both also share use of the Guardroom immediately inside the castle entrance.

The castle has become a recognizable symbol of Edinburgh, and of Scotland. It appears, in stylized form, on the coats-of-arms of the City of Edinburgh Council and the University of Edinburgh. Images of Edinburgh Castle are used, as a logo, by organizations including Edinburgh Rugby, the Edinburgh Evening News, Hibernian F.C. and the Edinburgh Marathon. It also appears on the “Castle series” of Royal Mail postage stamps. The castle is also a focal point for annual fireworks displays which mark Edinburgh’s Hogmanay (New Year) celebrations, and the end of the Edinburgh Festival in the summer.

Forewall Battery

Few of the present buildings pre-date the Lang Siege of 1573 (in its 1,100-year history, it underwent 26 sieges, giving it a claim to having been “the most besieged place in Great Britain and one of the most attacked in the world”) when the medieval defenses were largely destroyed by artillery bombardment. The most notable exceptions are St Margaret’s Chapel (from the early 12th century, is regarded as the oldest building in Edinburgh), the Royal Palace, and the early 16th-century Great Hall.

Argyle Tower

Before entering the castle, you first pass the Esplanade. long sloping forecourt in front of the castle. Originally the Spur, a 16th-century hornwork, was located here and, in 1753, was laid out as a parade ground (extended in 1845). The Edinburgh Military Tattoo (since 2010 the Royal Edinburgh Military Tattoo) takes place here, annually, in August, attracting an annual audience of around 217,000 people, and broadcasted, in some 30 countries, to a television audience estimated at 100 million.

The climax of the evening is the lone piper, on the castle battlements, playing a pibroch in memory of dead comrades-in-arms.  This is followed by massed bands joining in a medley of traditional Scottish tunes. From the Esplanade the Half Moon Battery is prominent, with the Royal Palace to its left.

The author at Portcullis Gate

At the head of the Esplanade is the Gatehouse  built as an architecturally cosmetic addition to the castle in 1888. Above the gate is inscribed with the Latin motto Nemo me impune lacessit  and, flanking it, are statues of Robert the Bruce (by Thomas Clapperton) and William Wallace (by Alexander Carrick), both added in 1929. The dry ditch in front of the entrance was completed in its present form in 1742.

Argyle Battery

Within the Gatehouse  are offices and, to the north, is the ticket office, the most recent addition to the castle, completed in 2008 to a design by Gareth Hoskins Architects. A road, built by James III in 1464 for the transport of cannon, leads upward and around to the north of the Half Moon Battery and the Forewall Battery, to the Portcullis Gate, begun by the Regent Morton after the Lang Siege of 1571–73 to replace the round Constable’s Tower destroyed during the siege. The Argyle Tower, a Scots Baronial tower at the upper part of the Gatehouse, was designed by the architect Hippolyte Blanc and built in 1886–1887.

Mills Mount Battery

Just inside the gate, overlooking Princes Street, is the Argyle Battery, with Mills Mount Battery (where the One O’Clock Gun is located), to the west. Below these is the Low Defense while, at the base of the rock, is the ruined Wellhouse Tower, built in 1362 to guard St. Margaret’s Well, a natural spring that provided an important secondary source of water for the castle (its water being lifted up by a crane mounted on a platform known as the Crane Bastion).

Jandy beside a 25-pounder howitzer

To the north and west of the Argyle Tower are military buildings erected, in the early 18th century, after the castle became a major garrison. Tea rooms, adjacent to Mills Mount, were originally 18th-century cart sheds. To the south is the Governor’s House which now functions as an officers’ mess, and as the office of the Governor since the restoration of the post in 1936..  Built in 1742 as accommodation for the Governor, Storekeeper, and Master Gunner, it was used until the post of Governor became vacant in the later 19th century.  Later it was then used by nurses of the castle hospital.

The Governor’s House

The New Barracks, south of the Governor’s House, was completed in 1799 to house 600 soldiers, replacing the outdated accommodation in the Great Hall. It now houses the Regimental Headquarters of the Royal Regiment of Scotland and the Regimental Headquarters of the Royal Scots Dragoon Guards (Carabiniers and Greys) as well as the Royal Scots Dragoon Guards Museum (opened in 1995 by, Queen Elizabeth II, the regiment’s Colonel). Nearby is the Regimental Museum of the Royal Scots (The Royal Regiment) in the former Royal Scots drill hall, constructed in 1900.

Check out “Regimental Museum of the Royal Scots (The Royal Regiment)”

Regimental Museum of the Royal Scots (The Royal Regiment)

The military prison, built in 1842 as a detention block for the castle garrison, was extended in the 1880s and was last used in 1923, when the garrison moved to the city’s Redford Barracks.  West of the Governor’s House is a store for munitions was built in 1747–48 and later extended to form a courtyard, in which the main gunpowder magazine also stood.

Military Prison

South of this courtyard is now the National War Museum of Scotland which covers Scotland’s military history over the past 400 years.  Forming part of the National Museums of Scotland, its exhibits (including a wide range of military artefacts, such as uniforms, medals and weapons) also illustrates the history and causes behind the many wars in which Scottish soldiers have been involved.

Check out “National War Museum of Scotland”

National War Museum Scotland

Beside the museum is Butts Battery, named after the archery butts (targets) formerly placed here and, below it, are the Western Defenses, where a postern, named the West Sally Port, gives access to the western slope of the rock.

Foog’s Gate

The Upper Ward (or Citadel), occupying the highest part of the Castle Rock, is entered via the late 17th-century Foog’s Gate. Large cisterns, built to reduce the castle’s dependency on well water, and a former fire station (now used as a shop), are both adjacent to the gates.

St. Margaret’s Chapel

The small St. Margaret’s Chapel and Mons Meg, 15th-century siege gun or bombard, occupy the summit of the rock. The oldest building in the castle and in Edinburgh, St. Margaret’s Chapel is one of the few 12th-century structures surviving in any Scottish castle.  It dates from the reign (1124–1153) of King David I who built it as a private chapel, dedicated to Saint Margaret of Scotland, his mother, who died in the castle in 1093) for the royal family.

Interior of St. Margaret’s Chapel

It survived the slighting of 1314 (when the castle’s defenses were destroyed on the orders of Robert the Bruce) and, from the 16th century, was used as a gunpowder store when the present roof was built. In 1845, while in use as part of the larger garrison chapel, it was “discovered” by the antiquary Daniel Wilson and, in 1851–1852, was restored and still used for religious ceremonies such as weddings.

Mons Meg

In front of St. Margaret’s Chapel, resting on a reconstructed carriage (details copied from an old stone relief that can be seen inside the tunnel of the Gatehouse at the castle entrance) and displayed on a terrace, is the 13,000-pound (5.9-ton) gun Mons Meg, constructed in 1449 in Flanders, on the orders of Philip III, Duke of Burgundy, and given, as a gift, to King James II (the husband of his niece), in 1457. Displayed alongside it are some of Meg’s large gun stones, weighing around 330 lbs. (150 kgs.) each.

Meg’s large gun stones

On July 3, 1558, when it was fired, in salute, to celebrate the marriage of Mary, Queen of Scots, to François II, the French dauphin. It has been defunct since On October 30, 1681 when the gun barrel burst while firing a salute to greet the Duke of Albany (the future King James VII and II) on his arrival in Edinburgh..

Lang Stairs

Below this area, on a ledge, is a small 19th-century Dogs’ Cemetery for the burial of the soldiers’ regimental mascots. Besides this is the Lang Stair that leads down to the Argyle Battery, past a section of a medieval bastion, and gives access to the upper storey of the Argyle Tower. The Forewall and Half Moon Batteries occupy the eastern end of the Upper Ward, with Crown Square to the south.

Half Moon Battery

The Half Moon Battery, a prominent feature on the east side of the castle, was built around and over the ruins of David’s Tower, two storeys of which survive beneath, with windows facing out onto the interior wall of the battery.  It was erected between 1573 and 1588 and built as part of the reconstruction works supervised by the Regent Morton. The Forewall, to the north, was built between 1689 and 1695 to link the Half Moon to the Portcullis Tower, although part of the original wall of 1540 was incorporated into it.

David’s Tower

David’s Tower was rediscovered, in 1912, during routine maintenance work and excavations below the Half Moon Battery revealed the extent of the surviving buildings. Built on an L-plan, it has a 16 by 12 m. (51 by 38 ft.) main block, with a 6.4 by 5.5 m. (21 by 18 ft.) wing to the west. It is entered via a pointed-arched doorway in the inner angle although, in the 16th century, this was filled in to make the tower a solid rectangle. Although the lower parts are generally closed, several rooms were accessible to the public.

Crown Square

Crown Square (also known as Palace Yard), laid out in the 15th century (during the reign of King James III) as the principal courtyard of the castle, is formed by the Royal Palace to the east, the Great Hall to the south, the Queen Anne Building to the west, and the National War Memorial to the north.

Laich Hall at the Royal palace

The Royal Palace, comprising the former royal apartments (the residence of the later Stewart monarchs), was begun in the mid-15th century (during the reign of James IV) and was extensively remodeled, in 1617, for the visit of James VI to the castle, when state apartments for the King and Queen were built. On the ground floor is the Laich (Low) Hall (now called the King’s Dining Room) and the Birth Chamber (or Mary Room), a small room where, on June 19, 1566, James VI was born to Mary, Queen of Scots. The commemorative painted ceiling, and other decorations, were added in 1617.

Portrait of Mary Queen of Scots at the Birth Chamber

Portrait of King James VI

The vaulted Crown Room, on the first floor, was built in 1615 to house the Honours of Scotland: the crown, the scepter and the sword of state. Since its return to Scotland in 1996, the Stone of Scone, where the monarchs of Scotland were traditionally crowned, has been kept in the Crown Room. The Register House, to the south of the palace, was built in the 1540s to accommodate state archives.

The Great Hall

The 29 by 12.5 m. (95 by 41 ft.) Great Hall, the chief place of state assembly in the castle (although there is no evidence that the Parliament of Scotland ever met there), is usually ascribed to the reign of King James IV, and is thought to have been completed in the early years of the 16th century.

Hammerbeam ceiling inside the Great Hall

One of only two medieval halls in Scotland with an original hammerbeam roof, it has decorative, carved stone corbels, supporting the roof, with Renaissance detailing which has been compared to ca. 1515 works at Blois, France, indicating that the arts in Scotland were relatively advanced at this time.  Still occasionally used for ceremonial occasions, the Great Hall has been used as a venue on Hogmanay for BBC Scotland‘s Hogmanay Live program.

Queen Anne Building

The present Queen Anne Building, on the south side of the castle, was named after Queen Anne. It was built in 1713 and designed by Capt. Theodore Dury, military engineer for Scotland (he also designed Dury’s Battery, named in his honor).

Dury’s Battery

It initially provided accommodation for Staff Officers but, after the departure of the Army, it was remodeled to complement the newly opened Scottish National War Memorial) as the Naval and Military Museum in the 1920s. Today, the building now houses a function suite and an education center.

Scottish National War Memorial

The Scottish National War Memorial, occupying a converted barrack block on the north side of Crown Square, is maintained by a charitable trust.  It commemorates Scottish soldiers, and those serving with Scottish regiments, who died in the two world wars and in more recent conflicts. The building, its exterior decorated with gargoyles and sculpture, has an interior that contains monuments, to individual regiments, and stained-glass windows by Douglas Strachan.

Check out “Scottish National War Memorial”

Within the Shrine is an altar, placed upon the highest point of the Castle Rock, with a sealed casket containing Rolls of Honor which lists over 147,000 names of those soldiers killed in World War I, plus 50,000 names from World War II. Further names continue to be added to the Rolls of Honor.

Redcoat Cafe

At precisely 1 PM (except Sundays, Good Friday and Christmas Day), the One O’Clock Gun is fired, every day, from Mill’s Mount Battery (formerly from the Half Moon Battery), on the north face of the castle, by the District Gunner from the 105th Regiment Royal Artillery. Established in 1861 as a time signal for ships in the harbor of Leith and the Firth of Forth, 3 kms. (2 mi.) away, the gun is no longer required for its original purpose but the ceremony has become a popular tourist attraction.

The One O’Clock Gun

Its original gun was an 18-pound muzzle-loading cannon (which needed four men to load).  In 1913, it was replaced by a 32-pound breech-loader and, in May 1952, by a 25-pound Howitzer. On November 30, 2001, the present One O’Clock Gun, an L118 Light Gun, was brought into service. A small exhibition, at Mill’s Mount, was established by the  One O’Clock Gun Association and Staff Sergeant Thomas McKay MBE (nicknamed “Tam the Gun“), the longest-serving District Gunner (from 1979 until his retirement in January 2005).

Hospital

Gift Shop

Edinburgh Castle: Castle Rock, Edinburgh, EH1 2NG Scotland. Tel: +44 131 225 9846.  Website: www.edinburghcastle.scot. Open daily, 9:30 AM to 6 PM (April to September) and 10 AM to 4 PM (October to March). Closed December 25 and 26. Admission:

  • Adult (16-64 years old): £21.50 (online), £24.00 (walk-up)
  • Concession (65 years+ and unemployed): £17.00 (online), £19.00 (walk-up)
  • Child (7-15 years old): £13.00 (online), £14.50 (walk-up)
  • Adult Flexi Ticket: £35.00 (online)
  • Concession Flexi Ticket: £28.00 (online)
  • Child Flexi Ticket: £21.00 (online)
  • Family (1 adult, 2 children): £42.50 (online), £47.50 (walk-up)
  • Family (2 adults, 2 children): £62.00 (online), £69.50 (walk-up)
  • Family (2 adults, 3 children): £74.00 (online), £82.00 (walk-up)

Church of St. Cuthbert and Graveyard (Edinburgh, Scotland, U.K.)

Posted on by — Leave a reply

St. Cuthbert Parish Church

The historic parish church of St Cuthbert, and its graveyard, are a significant part of Edinburgh’s heritage (the church has been a Category A listed building since 1970) that are both well-maintained.  The church, on the oldest continually used site of worship in the whole city, a parish church of the Church of Scotland.  The earliest church on the site was said to have been founded by St. Cuthbert around 670 AD.

The graveyard beside the church

Partly due to its closeness to Edinburgh Castle, the church was, at different times, caught in cannon crossfire between opposing armies, suffering severe damage or being destroyed as a result and it is believed that there have been seven churches built on its site. The present church of St Cuthbert’s, built in the Baroque and Italian Renaissance style, was designed (except for the steeple of the previous church which was retained), by Hippolyte Blanc and built between 1892 and 1894. It is apparently quite beautiful inside, with stained glass windows by Louis Comfort Tiffany, Douglas Strachan, and Ballantyne & Gardiner; mural paintings by Gerald Moira and John Duncan; and memorials by John Flaxman and George Frampton.  However, on this particular day, it was closed to visitors.

The twin, 3-storey Baroque towers with the old steeple in between

The church, divided into upper and lower levels by a continuous course of ashlar dressings, has a roughly dressed and snecked, cream sandstone exterior, with every corner decorated with half-fluted Corinthian pilasters, on the upper stage (pierced with round-arched windows, with architraves  supported by half-fluted Corinthian pilasters, of each of the four western bays), and quoining on the lower (each bay pierced by an oblong window below a corniced architrave). The slated roof rests at a shallow pitch. The near-identical north and south elevations terminate with square-based, three-storeyed Baroque towers on the east sides of the transepts.

One of the twin, Baroque-style towers

The church itself was where the almost 40-year old crime writer Agatha Christie married the 26-year old (a nearly 14-year age gap which was considered scandalous by some at that time) archaeologist Max Mallowan, her second husband, in 1930, a runaway affair, with the couple eloping northwards, from England to Edinburgh, where the service was conducted without friends or family, and just two strangers brought off the street to act as witnesses to the ceremony.

The large graveyard, near Edinburgh Castle, is believed to be on the oldest Christian site in Edinburgh.  The graveyard is impressive, containing hundreds of monuments worthy of notice, including one to John Grant of Kilgraston (near Perth), and a number of graves that are worth examining as it holds the remains of notable individuals like Thomas De Quincey (1785–1859, author of Confessions of an English Opium-Eater) and John Napier. The first reference to a graveyard here is recorded as being in 1595.

The graveyard

The mathematician John Napier (1550–1617) discovered logarithms and invented ‘Napier’s Bones’ (because the instruments were originally carved from bone or ivory), a device for easily calculating large sums, a precursor to the pocket calculator. He is buried in an underground vault on the north side of the church (reburied after destruction of the kirkyard of St. Giles to build Parliament House).

The three-bay Gothic mausoleum of the Gordons of Cluny, by David Bryce contains the tomb of Cosmo Gordon of Cluny FRSE (1736–1800), a politician and co-founder of the Royal Society of Edinburgh in 1783.

Obelisks used to mark the graves of notable individuals and families

Robert Tait McKenzie, a Canadian doctor and sculptor, created the memorial known as The Call 1914, in nearby Princes Street Gardens, which commemorates the Scots soldiers who were killed or injured during the First World War. His heart is buried in St Cuthbert’s kirkyard, with a small decorative plaque commemorating his life. Mackenzie originally wanted to be buried in front of the memorial after his death.

Sir Henry Raeburn (1756–1823), one of Scotland’s foremost portrait painters in the eighteenth century, is buried on the eastern wall of the graveyard. Another artist buried here is Alexander Nasmyth (1758–1840), also an architect and inventor, whose most notable painting is the much-copied portrait of Robert Burns. His son, James Nasmyth, also a prolific inventor, is most famous for the steam hammer while his other son, Patrick Nasmyth continued the family line as an artist of note.

Also buried here is Jessie MacDonald, granddaughter of Flora MacDonald (who helped Bonnie Prince Charlie, the Young Pretender of the Jacobite Uprisings, escape Scotland after his defeat at the Battle of Culloden in 1746), and George Meikle Kemp (1795–1844), the self-taught architect and master joiner whose major gift to the city of Edinburgh was the Scott Monument, the “Gothic rocket’’ of in Princes Street Gardens.

Other noteworthy burials in the graveyard include:

Many were also buried within the church. They include William Paul (1754–1802), Chaplain in Ordinary to George III; and Sir James Rocheid of Inverleith (1715–1787).

West of the transept, on the north side, are steps that descend to a round-arched doorway, in the basement level, that lead to the Nisbet of Dean burial vault. Buried here is Henrie Nisbet of Dean (died 1609) and his son William Nisbet of Dean. Henrie was Provost of Edinburgh, from 1592 to 1593, while William was twice Provost of Edinburgh 1615 to 1619 and 1622 to 1623. Constructed in 1692, it was retained during the construction of the current church and its predecessor.

Dog sculpture commemorating Edinburgh’s sister city of San Diego (California, USA) and their respective celebrity dogs (Greyfriar’s Bobby, of Edinburgh, and Bum of San Diego)

St, Cuthbert Church Graveyard: 5 Lothian Road, New Town, Edinburgh, EH1 2EP, Scotland.

Ross Fountain (Edinburgh, Scotland, UK)

Posted on by — Leave a reply

Ross Fountain with Edinburgh Castle in the background

The highlight of our visit to the Princes Street Gardens was our photo ops at the Ross Fountain, the focus of the western end of the gardens and the park’s most important monument.  This fountain, made from cast-iron, is a shining example of magnificent  19th century sculpture.  Photographs of the view up to the famous Edinburgh Castle from the Gardens, with this fountain in the foreground, has featured heavily in some of the iconic imagery of Edinburgh over the years.

Check out “Princes Street Gardens”

At an exhibit at the Great Exhibition of 1862, an exhibition of modern art, technology and invention in London, it was purchased, on a moment of impulse and as a philanthropic gesture, by Edinburgh gunsmith Daniel Ross (who described it as “obtaining universal admiration”), in September 1869, for £2,000 and, subsequently, gifted to the city of Edinburgh.

The four female, greater than life size figures representing Science, Arts, Poetry, and Industry

That same year, it was transported to Leith, in 122 individual pieces, but sat in storage for a decade while the city council considered where they were going to put it. In 1872, it was reassembled, in its current position, at Princes Street Gardens, only a few hundred yards from the Ross Bandstand. Sadly, David Ross died in January 1871, one year before, missing the opportunity to see the masterpiece displayed in the gardens.

Some of the 8 voluptuous mermaid statues, with bared flesh, holding overflowing urns, and sitting on scallop-shell basins with lion’s heads between

In 2001, as broken pipes had made the fountain inoperational, the fountain had some extensive restoration work completed. In 2008, water was turned off and, from July 2017, it was closed again for further restoration work, costing 1.9 million pounds, undertaken by Lost Art Limited of Wigan on behalf of The Ross Development Trust. On July 8, 2018, it was re-inaugurated by Lord Provost Frank Ross and others, including the Head of Mission at the French Consulate in Edinburgh Emmanuel Cocher.

The beautifully modeled and semi-naked female figure, holding the topmost cornucopia, which scandalized Victorian Edinburgh at the time.

The fountain, now with a new pump that will be switched on permanently, is now painted in eye-catching turquoise, brown and gold which, according to the organizers, should last for at least 20 years. The figures were sculpted by artist Jean-Baptiste Jules Klagmann (b. April 1810) whose other work includes figures for the Louvre and D’ Medici fountains in Luxembourg Gardens in Paris.  It is also unusual in that, rather than having been produced by one of the great Scottish foundries of the day, it was produced at the iron foundry of  Antoine Durenne, ‘Maitre de Forges, Sommevoire Haute Marne’ in Sommevoire, France.

The fountain’s circular basin has curved Craigleith sandstone edges and the first elevated basin is decorated with stylized “walrus” heads round the edge. The first tier of the central column has 8 voluptuous mermaid statues, with bared flesh, holding overflowing urns, and sitting on scallop-shell basins with lion’s heads between. Swags and cornucopia abound, and the bowls above have cherub-faced spouts.

The author (right) with Jandy and Grace (photo: Selena Sta. Maria))

Near the top, with water basins held up by mermaid children, are four female greater than life size figures representing Science, Arts, Poetry, and Industry seated between semicircular basins. The structure is surmounted by a final, beautifully modeled and semi-naked female figure, holding the topmost cornucopia, which scandalized Victorian Edinburgh at the time. All this combines to produce a fountain that is over 40 ft. high and over 100 tons in weight. 

Ross Fountain: West Princes Street Gardens, Princes Street EH2 2HG, Edinburgh. Tel: 0131 529 7921. E-mail: parks@edinburgh.gov.uk.

Princes Street Gardens (Edinburgh, Scotland, UK)

Posted on by — Leave a reply

Princes Street Gardens

Our third (and first and only whole) day in Edinburgh, we planned to visit Edinburgh Castle but, as it was still very early in the morning (the castle opens at 10 AM), we decided to visit and explore the 150,000 sq. m. (37-acre) Princes Street Gardens, one of two adjacent public parks (East Princes Street Gardens and West Princes Street Gardens) and one of the most important urban parks in the center of Edinburgh.

The National Gallery of Scotland (left) and the Royal Scottish Academy (right) buildings

Lying in the shadow of Edinburgh Castle (on its rock towering above the western end), the gardens, running along the south side of Princes Street, is divided into two parts by The Mound, an artificial hill, on which the National Gallery of Scotland and the Royal Scottish Academy buildings are located, that connects the city’s New Town and Old Town.

Check out “National Gallery of Scotland”

St. John’s Church

Lying at center of Edinburgh’s World Heritage Site, set in the valley between New Town and Old Town Outstanding Conservation Areas (the boundary between the two areas being the north fence of the railway), the Princes Street Gardens is in the very center of Edinburgh’s World Heritage Site.

L-R: Paula, Manny, Jandy, Grace and the author at Princes Street Gardens. In the background is St. Cuthbert’s Parish Church

Its landscape, of outstanding refinement and cultural significance, has high geological and some botanical scientific interest. One of the New Town Gardens listed in the Inventory of Gardens and Designed Landscape in Scotland, it was assessed as outstanding in terms of aesthetic, historical, architectural and scenic values.

Ross Fountain with Edinburgh Castle in the background

The central location of the Gardens makes it a popular choice having the highest awareness and visitor figures for both residents and visitors to the city. Awarded a Green Flag since 2011, the park is beautiful all year round.

Gardener’s Cottage

East Princes Street Gardens run from The Mound to Waverley Bridge, and cover 3.4 ha. (8.5 acres) while the larger West Princes Street Gardens covers 12 ha. (29 acres) and extends to the adjacent churches of St. John’s and St. Cuthbert’s, near Lothian Road in the west.

Check out “St. Cuthbert Parish Church”

The Scott Monument

The Gardens were created in the 1820s following the long draining of the Nor Loch and building of the New Town, beginning in the 1760s.  Situated on the north side of the town, the loch,  originally an artificial creation forming part of its medieval defenses, has made expansion northwards difficult and its water was habitually polluted from sewage draining downhill from the Old Town. The Princes Street Gardens has a diverse and fascinating collection of public monuments and memorials. Dating mainly from the 1840s to 1990s, there are three types.

Sir James Young Simpson Monument

The first group commemorates influential Scottish men of the 18th and 19th centuries. In the East Princes Street Gardens are the Scott Monument (the most prominent in the garden, this Neo-Gothic spire was built in 1844 to honor Sir Walter Scott) and the statue of explorer David Livingstone.  Also within East Princes Street Gardens are statues of the publisher Lord Provost Adam Black and Professor John Wilson (the essayist who wrote under the pseudonym Christopher North).

Thomas Guthrie Monument

The second group remembers those who have died fighting in wars, including the Royal Scots Greys Regimental Memorial and the Scottish American War Memorial (designed by R. Tait McKensie, it was erected in 1927). The Royal Scots Monument, a large curved monument to the Royal Scots, stands slightly hidden just south of the very picturesque gardener’s cottage at the east end of the West Princes Gardens. Designed by Sir Frank Mears, with sculpture by Pilkington Jackson, it was described as a “modern henge.”   Dating from 1950, it was added to and “finalized” in May 2007 following the termination of the Royal Scots in 2006. This added additional Battle Honors gained since the 1950s.

Monument of the Royal Scots

The third group includes miscellaneous sculptures and monuments such as the cast iron Ross Fountain The focus of the western end of the gardens, the newly refurbished fountain is the park’s most important monument.  Gifted by Edinburgh gunsmith Daniel Ross, this structure was originally installed in 1872, after having been an exhibit at the Great Exposition of 1862 in London, and repaired, restored and unveiled on July 8, 2018 with the help of The Ross Development Trust.

Check out “Ross Fountain”

The Genius of Architecture crowning the Theory and Practice of Art

At the eastern entrance to the Gardens is the world renowned Floral Clock.  The world’s first floral clock, it was first planted in 1903 and each year the planting scheme, designed by the Technical team in the Parks and Greenspace Service, commemorates a special anniversary. The designs of the colorful displays uses a variety of 30,000 flower and foliage plants (including annuals such as Lobelia, Pyrethrum and Golden Moss and succulents such as Echeveria and Sedum), all of a dwarf nature, suitable for carpet bedding.

Ross Theatre

Along the south side of Princes Street are many statues and monuments such as statues of the poet Allan Ramsay, the church reformer Thomas Guthrie, and the obstetric pioneer James Young Simpson. Within East Princes Street Gardens is a small commemorative stone honoring the volunteers from the Lothians and Fife who fought in the Spanish Civil War.

Mortonhall Baby Ashes Memorial

In the center of the West Princes Street Gardens is the Ross Bandstand, named after William Henry Ross (Chairman of the Distillers Company Ltd.) who, in 1877, gifted the first bandstand on the site. The Princes Street proprietors contributed £500 as a goodwill gesture to the cost of the bandstand. The present building and terraces, dating from 1935, is the site of various concerts and other events including the Festival Fireworks Concert, Men’s Health Survival of the Fittest and during the city’s Hogmanay celebrations. The Ross Development Trust proposed to rebuild the bandstand as a Ross Pavilion based on design by architects wHY following an international competition in 2017.

The Royal Scots Greys Monument

The Genius of Architecture, a statuary group on the lower path, represents crowning the Theory and Practice of Art.   Designed by William Brodie originally for the garden of Rockville, the home of his maverick architect son-in-law Sir James Gowans, it was moved here in the 1960s following the demolition of Rockville.   Nearby is the Mortonhall Baby Ashes Memorial, a new monument in the form of a baby elephant by sculptor Andy Scott.  Added to the gardens on February 2, 2019, it is a permanent reminder of the 250 babies and their families affected by the Mortonhall scandal, which was uncovered in 2012.

Norwegian Brigade Memorial

Other statues and memorials include the Norwegian Brigade War Memorial (donated in 1978 by Norwegian veterans trained in Scotland during the Second World War) and the bronze statue, unveiled in 2015, of Wojtek the Bear, a Syrian brown bear adopted by the Polish II Corps during World War II, with a fellow Polish Army soldier walking together.

Wojtek The Soldier Bear Memorial

Princes Street Gardens: Princes Street EH2 2HG, Edinburgh. Tel: 0131 529 7921. E-mail: parks@edinburgh.gov.uk