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
EDINBURGH TO-DAY AND TO-MORROW
Life holds not an hour that is better to live in:
the past is a tale that is told,
The future a sun-flecked shadow, alive and asleep,
with a blessing in store.
SWINBURNE.
In Edinburgh, at whatever other hour of the day the resident or tourist
may let his mind dwell in the past, at one o’clock he will always be
brought back to the present moment; for at one o’clock the gun goes off
at the Castle, and horses and men and women that are gun-shy are greatly
startled, and every one pulls out his watch. But, except precisely at
one o’clock, it is as impossible to exist in Edinburgh without living in
the past as it would be to walk along Princes Street without seeing the
Castle. We are a little archaic in Edinburgh. Yet there are other things
of the present that you may notice after you have set your watch to
Greenwich time by the one-o’clock gun. Princes Street is gay with shop
windows under awnings, with the big bow-windows of the Clubs, with many
hotels; and now there are bigger and newer hotels to east and to west,
at the railway stations. And Princes Street is full of a constant stream
of traffic, plying in the wide street between the one broad pavement on
the north side and the row of statues along the green sward and the
blazing flower-beds in the beautiful gardens opposite: cable cars with
noisy bells, motor cars, carriages, bicycles, electric broughams,
station lorries, hansom cabs, and the crawling “char-a-bancs,” with
their scarlet-coated drivers, picking up passengers for the Forth Bridge
or Roslin. But still the north-east wind takes the liberty of blowing
from the Forth among all these modern innovations, and whirling an
unwary hat or a too-lightly-held newspaper high into the air.
As the wind is unchanged in temper, so are the natural features
unchanged in beauty; and the views of the city, “from a’ the airts the
wind can blaw,” are pictures to gladden the artist or the poet. There is
the “Marmion view” from the south,--the view that Scott loved and Turner
painted,--but with a denser massing of suburb than they saw, reaching
right up to the furzy knoll where Marmion stood. Here is the Castle in
all its majesty, with the Grassmarket and Cowgate huddled picturesquely
under its precipices, and the old dark descending spine of the High
Street, with St. Giles’s open crown over the roofs, and then all the
maze and glitter of a newer world, with its many domes and steeples, and
the Forth beyond.
Public-domain text, read in full here on John Shaqi.
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