Edinburgh: Painted by John Fulleylove; described by Rosaline Masson — John Shaqi
Edinburgh: Painted by John Fulleylove; described by Rosaline MassonMasson, Rosaline
History
Edinburgh: Painted by John Fulleylove; described by Rosaline Masson
Masson, Rosaline
Edinburgh (Scotland) -- Description and travel
tunnel with a flashing vista of the New Town in a blaze of sunshine at
the end of it.
But, in driving down that ridge of street from the Castle to Holyrood,
the tourist drives right through the history of Old Edinburgh, through
centuries of her stories and traditions, her pride and her romances and
her crimes. Down this street have ridden many gay processions, many
royal pageants. Often have the “fore-stairs” and windows been crowded to
witness a king lead home a foreign bride; or a regiment of brave Scots
go by, with music and the tramp of feet; or a prisoner driven to his
death; or, most familiar sight of all in ancient Edinburgh, to watch a
“tulzie,” a quarrel settled “à la mode d’Edimbourg,” as they said on the
Continent,--a duel to the death, or a street fight between armed men,
followers of great rival houses, the popular side ably assisted by the
fighting burghers with their spears. In the month of August 1503 the
ladies of Edinburgh gathered on the decorated fore-stairs, “gay as beds
of flowers,” to see King James IV. ride into the town with his Tudor
bride on her palfrey. During the minority of James V. the windows were
crowded with excited faces, whilst the terrific “Cleanse the Causeway”
raged below, and the townspeople handed out spears to the Douglases, and
the dead Hamiltons blocked the entries to the closes. Here Queen Mary
rode, a dishevelled prisoner, after the battle of Carberry Hill, after
she had parted with Bothwell, and “as she came through the town the
common people cried out against Her Majesty at the windows and stairs,
which it was a pity to hear. Her Majesty again cried out to all
gentlemen and others that passed up and down the causeway, declaring how
that she was their native princess, and doubted not but all honest
subjects would respect her as they ought to do, and not suffer her to
be mishandled.”[36]
When one turns aside from the main thoroughfare and penetrates into the
closes, one leaves the public life of the city and comes upon the
stories of the private lives of Old Edinburgh. Many of the closes, alas!
are gone. Sometimes only an entrance remains, with a name above it
recalling a hundred memories,--but the entrance leads to nowhere, or to
modern buildings. But some closes remain; and, as one makes one’s way
down from the Castle to the Canongate one can turn aside here and there,
crossing and recrossing the street to dive down some steep entry, and,
standing within it, where the broken plaster shows the bare oaken
rafters overhead, may read half-obliterated Latin, or trace armorial
bearings over doorways, or gaze through the open doors up spiral wooden
stairs, or--over the heads of the swarming little children playing in
the courts--at ancient gabled roofs and rounded turrets and beautiful
old windows, whence once fair ladies peeped, and where now the
ever-present “washings” hang suspended on poles, and add impressionist
touches of colour to the scene.
Public-domain text, read in full here on John Shaqi.
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