Scottish gems
In 1822, King George IV set sail from Greenwich and arrived at Leith docks in torrential rain four days later to be greeted by Sir Walter Scott. It was the first visit to Scotland for a reigning monarch since 1650 and despite courtiers’ reservations about how he would be received, the Scots embraced him wholeheartedly, lining the streets and cheering. Although aged 60 and suffering from chronic gout, he threw his portly 5ft 2in frame into the array of Highland activities arranged for his visit.
For a city that boasts some of the most impressive Georgian architecture in the kingdom, he proved to be the perfect mascot. His visit was immortalised in several paintings, including View Of The Top Of Calton Hill Looking To The West by Lady Mary Stewart (Elton) in the same year. The exquisitely detailed lithograph is now part of Edinburgh City Council’s art collection, which includes more than 4,500 paintings, watercolours, drawings, prints, photographs, sculpture and installation art dating from the 17th century to the present day.
The Taking Of Excalibur, oil on canvas, by John Duncan, 1897, recalls the legend of Arthur’s Seat
By any standards, it boasts an impressive roll call of artists and a new book by the Scottish writer Alyssa Jean Popiel celebrates this achievement with a selection of 100 artworks from the collection. Gourlay Steell’s Greyfriars Bobby is a genius example of etching. Made in 1867, the heartbroken terrier, in mourning for his master, sat for Steell in his George Street studio.
John Duncan’s 1897 The Taking Of Excalibur has a more ethereal touch, as befitting an oil on canvas painted to portray the legend of Arthur’s Seat and a deliberate attempt to kick-start the Celtic Revival.
In contrast, William Hole’s vast oil Charles Edward Stuart At Holyrood, painted in 1909, was one of nine paintings commissioned to decorate the dining room of the City Chambers in the Royal Mile, and therefore has a more acute political definition; recreating the euphoric moment when Stuart stormed the doors of Holyrood Palace and proclaimed his father, King James VIII the rightful King of Scotland. ‘Bonnie Prince Charlie’ occupied the palace for only six weeks.
Clockwise from left: The Caley Station, Scotland’s largest railway station, oil on canvas by Edwin George Lucas, 1942; an etching on paper of the terrier Greyfriars Bobby, by Gourlay Stell, 1867; Charles Edward Stuart At Holyrood, painted in oil by William Fergusson Brassey Hole, 1909
In the year when a question mark hangs over the union, this, and all the others in the collection help remind those south of the border quite how many gems there are up north.
A Capital View, The Art Of Edinburgh, by Alyssa Jean Popiel, is published by Birlinn, priced £25.
For a city that boasts some of the most impressive Georgian architecture in the kingdom, he proved to be the perfect mascot. His visit was immortalised in several paintings, including View Of The Top Of Calton Hill Looking To The West by Lady Mary Stewart (Elton) in the same year. The exquisitely detailed lithograph is now part of Edinburgh City Council’s art collection, which includes more than 4,500 paintings, watercolours, drawings, prints, photographs, sculpture and installation art dating from the 17th century to the present day.
The Taking Of Excalibur, oil on canvas, by John Duncan, 1897, recalls the legend of Arthur’s SeatBy any standards, it boasts an impressive roll call of artists and a new book by the Scottish writer Alyssa Jean Popiel celebrates this achievement with a selection of 100 artworks from the collection. Gourlay Steell’s Greyfriars Bobby is a genius example of etching. Made in 1867, the heartbroken terrier, in mourning for his master, sat for Steell in his George Street studio.
John Duncan’s 1897 The Taking Of Excalibur has a more ethereal touch, as befitting an oil on canvas painted to portray the legend of Arthur’s Seat and a deliberate attempt to kick-start the Celtic Revival.
In contrast, William Hole’s vast oil Charles Edward Stuart At Holyrood, painted in 1909, was one of nine paintings commissioned to decorate the dining room of the City Chambers in the Royal Mile, and therefore has a more acute political definition; recreating the euphoric moment when Stuart stormed the doors of Holyrood Palace and proclaimed his father, King James VIII the rightful King of Scotland. ‘Bonnie Prince Charlie’ occupied the palace for only six weeks.
Clockwise from left: The Caley Station, Scotland’s largest railway station, oil on canvas by Edwin George Lucas, 1942; an etching on paper of the terrier Greyfriars Bobby, by Gourlay Stell, 1867; Charles Edward Stuart At Holyrood, painted in oil by William Fergusson Brassey Hole, 1909 In the year when a question mark hangs over the union, this, and all the others in the collection help remind those south of the border quite how many gems there are up north.
A Capital View, The Art Of Edinburgh, by Alyssa Jean Popiel, is published by Birlinn, priced £25.