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Discover Fraser Suites Edinburgh
DISCOVER FRASER SUITES EDINBURGH “The warm and contemporary ambience of this boutique hotel creates a luxurious individual character for each and CONTENTS 01 HOME every room. Click to discover more of the luxuries that 02 INTRODUCTION are Fraser Suites Edinburgh.” 03 LOCATION 04 ROOM & SUITE FEATURES 05 SERVICES & FACILITIES 06 CONTACT US « 1 of 6 » Introduction Fraser Suites Edinburgh is a sumptuous new boutique hotel, boasting 75 luxurious and contemporary rooms and suites in an enviable location. As you step through the door into the world of Frasers, you will instantly feel welcome and at home. You’ll be spoilt for choice between superbly finished classic rooms and beautifully appointed suites. This historic building is ideally situated just off the Royal Mile, moments to Edinburgh Castle, the Palace of Holyroodhouse, and the Scottish Parliament, on St Giles Street, the former Fleet Street of Scotland. Dating back to the 1800’s, the property boasts superb views across Princes Street Gardens to the Firth of Forth beyond, and features bespoke art commissioned from the Edinburgh College of Art throughout. The warm and contemporary ambience of this boutique hotel creates an individual character for each room. The property features 24 hour reception and concierge, a gymnasium and a restaurant. For extended stays, our selection of one bedroom apartments are the perfect solution for relocation, training or working on location in the centre of Edinburgh. Our Vision Frasers Hospitality aims to be the premier global leader in the extended stay market through our commitment to continuous innovation in answering the unique needs of every customer. -
1. Canongate 1.1. Background Canongate's Close Proximity to The
Edinburgh Graveyards Project: Documentary Survey For Canongate Kirkyard --------------------------------------------------------------------------------------------------------------------- 1. Canongate 1.1. Background Canongate’s close proximity to the Palace of Holyroodhouse, which is situated at the eastern end of Canongate Burgh, has been influential on both the fortunes of the Burgh and the establishment of Canongate Kirk. In 1687, King James VII declared that the Abbey Church of Holyroodhouse was to be used as the chapel for the re-established Order of the Thistle and for the performance of Catholic rites when the Royal Court was in residence at Holyrood. The nave of this chapel had been used by the Burgh of Canongate as a place of Protestant worship since the Reformation in the mid sixteenth century, but with the removal of access to the Abbey Church to practise their faith, the parishioners of Canongate were forced to find an alternative venue in which to worship. Fortunately, some 40 years before this edict by James VII, funds had been bequeathed to the inhabitants of Canongate to erect a church in the Burgh - and these funds had never been spent. This money was therefore used to build Canongate Kirk and a Kirkyard was laid out within its grounds shortly after building work commenced in 1688. 1 Development It has been ruminated whether interments may have occurred on this site before the construction of the Kirk or the landscaping of the Kirkyard2 as all burial rights within the church had been removed from the parishioners of the Canongate in the 1670s, when the Abbey Church had became the chapel of the King.3 The earliest known plan of the Kirkyard dates to 1765 (Figure 1), and depicts a rectilinear area on the northern side of Canongate burgh with arboreal planting 1 John Gifford et al., Edinburgh, The Buildings of Scotland: Pevsner Architectural Guides (London : Penguin, 1991). -
THE HIGH MORLAGGAN PROJECT the History and Excavation of A
THE HIGH MORLAGGAN PROJECT The History and Excavation of a Deserted Highland Settlement Contents page 1. Introduction 1 1.1 The Project Circumstances 1 1.2 The High Morlaggan Project: Shadow People 1 2. Location and Topography 2 3. Historical and Archaeological Evidence 3 3.1. The History of High Morlaggan 4 3.2. Survey Results 19 3.3 Excavation Results 25 3.4 The Artefacts 31 4 Conclusion 35 References 36 Kilmartin House Museum Argyll, PA31 8RQ Tel: 01546 510 278 [email protected] Scottish Charity SC022744 1. Introduction 1.1 The Project Circumstances This publication has been prepared by Kilmartin House Museum for the High Morlaggan Project, its aim to collate all the information from historical study and a programme of survey and excavation on the deserted settlement of High Morlaggan. The aims of the project are more fully outlined within the Project Design (Regan 2009) and a technical report of the excavation appears in the Data Structure Report (Regan 2010). Permission to carry out the survey and excavation of the site was granted by Luss Estates (the current owner). Loch Lomond and The Trossachs National Park Authority and Scottish Natural Heritage funded the project. 1.2 The High Morlaggan Project: Shadow People – Our Community‟s Heritage The High Morlaggan Project is a programme of research and events, that seeks to enhance the understanding and promotion of archaeology in the area. The archaeological excavation in particular was also an opportunity for the local community to get involved in the archaeological process. Engaging the public will raise awareness and build an appreciation of the area‟s archaeology and history. -
Written Guide
The tale of a tail A self-guided walk along Edinburgh’s Royal Mile ww.discoverin w gbrita in.o the stories of our rg lands discovered th cape rough w s alks 2 Contents Introduction 4 Route map 5 Practical information 6 Commentary 8 Credits © The Royal Geographical Society with the Institute of British Geographers, London, 2015 Discovering Britain is a project of the Royal Geographical Society (with IBG) The digital and print maps used for Discovering Britain are licensed to the RGS-IBG from Ordnance Survey Cover image: Detail from the Scottish Parliament Building © Rory Walsh RGS-IBG Discovering Britain 3 The tale of a tail Discover the stories along Edinburgh’s Royal Mile A 1647 map of The Royal Mile. Edinburgh Castle is on the left Courtesy of www.royal-mile.com Lined with cobbles and layered with history, Edinburgh’s ‘Royal Mile’ is one of Britain’s best-known streets. This famous stretch of Scotland’s capital also attracts visitors from around the world. This walk follows the Mile from historic Edinburgh Castle to the modern Scottish Parliament. The varied sights along the way reveal Edinburgh’s development from a dormant volcano into a modern city. Also uncover tales of kidnap and murder, a dramatic love story, and the dramatic deeds of kings, knights and spies. The walk was originally created in 2012. It was part of a series that explored how our towns and cities have been shaped for many centuries by some of the 206 participating nations in the 2012 Olympic and Paralympic Games. -
Sons of Crispin
Sons of Crispin Sons of Crispin: The St Crispin Lodges of Edinburgh and Scotland By Sandra M. Marwick Sons of Crispin: The St Crispin Lodges of Edinburgh and Scotland, by Sandra M. Marwick This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Sandra M. Marwick All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-6361-0, ISBN (13): 978-1-4438-6361-2 TABLE OF CONTENTS List of Illustrations .................................................................................... vii Acknowledgements .................................................................................... ix Abbreviations .............................................................................................. x Chapter One ................................................................................................. 1 Introduction: Why Crispin? Chapter Two .............................................................................................. 17 St Crispin as Patron Saint Chapter Three ............................................................................................ 52 The Memorable Crispin Chapter Four ............................................................................................. -
Survival Guide
Edinburgh Festivals SURVIVAL GUIDE Introduction by Alexander McCall Smith INTRODUCTION The original Edinburgh Festival was a wonderful gesture. In 1947, Britain was a dreary and difficult place to live, with the hardships and shortages of the Second World War still very much in evidence. The idea was to promote joyful celebration of the arts that would bring colour and excitement back into daily life. It worked, and the Edinburgh International Festival visitor might find a suitable festival even at the less rapidly became one of the leading arts festivals of obvious times of the year. The Scottish International the world. Edinburgh in the late summer came to be Storytelling Festival, for example, takes place in the synonymous with artistic celebration and sheer joy, shortening days of late October and early November, not just for the people of Edinburgh and Scotland, and, at what might be the coldest, darkest time of the but for everybody. year, there is the remarkable Edinburgh’s Hogmany, But then something rather interesting happened. one of the world’s biggest parties. The Hogmany The city had shown itself to be the ideal place for a celebration and the events that go with it allow many festival, and it was not long before the excitement thousands of people to see the light at the end of and enthusiasm of the International Festival began to winter’s tunnel. spill over into other artistic celebrations. There was How has this happened? At the heart of this the Fringe, the unofficial but highly popular younger is the fact that Edinburgh is, quite simply, one of sibling of the official Festival, but that was just the the most beautiful cities in the world. -
Disfigurement and Disability: Walter Scott's Bodies Fiona Robertson Were I Conscious of Any Thing Peculiar in My Own Moral
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Mary's University Open Research Archive Disfigurement and Disability: Walter Scott’s Bodies Fiona Robertson Were I conscious of any thing peculiar in my own moral character which could render such development [a moral lesson] necessary or useful, I would as readily consent to it as I would bequeath my body to dissection if the operation could tend to point out the nature and the means of curing any peculiar malady.1 This essay considers conflicts of corporeality in Walter Scott’s works, critical reception, and cultural status, drawing on recent scholarship on the physical in the Romantic Period and on considerations of disability in modern and contemporary poetics. Although Scott scholarship has said little about the significance of disability as something reconfigured – or ‘disfigured’ – in his writings, there is an increasing interest in the importance of the body in Scott’s work. This essay offers new directions in interpretation and scholarship by opening up several distinct, though interrelated, aspects of the corporeal in Scott. It seeks to demonstrate how many areas of Scott’s writing – in poetry and prose, and in autobiography – and of Scott’s critical and cultural standing, from Lockhart’s biography to the custodianship of his library at Abbotsford, bear testimony to a legacy of disfigurement and substitution. In the ‘Memoirs’ he began at Ashestiel in April 1808, Scott described himself as having been, in late adolescence, ‘rather disfigured than disabled’ by his lameness.2 Begun at his rented house near Galashiels when he was 36, in the year in which he published his recursive poem Marmion and extended his already considerable fame as a poet, the Ashestiel ‘Memoirs’ were continued in 1810-11 (that is, still before the move to Abbotsford), were revised and augmented in 1826, and ten years later were made public as the first chapter of John Gibson Lockhart’s Memoirs of the Life of Sir Walter Scott, Bart. -
Building Stones of Edinburgh's South Side
The route Building Stones of Edinburgh’s South Side This tour takes the form of a circular walk from George Square northwards along George IV Bridge to the High Street of the Old Town, returning by South Bridge and Building Stones Chambers Street and Nicolson Street. Most of the itinerary High Court 32 lies within the Edinburgh World Heritage Site. 25 33 26 31 of Edinburgh’s 27 28 The recommended route along pavements is shown in red 29 24 30 34 on the diagram overleaf. Edinburgh traffic can be very busy, 21 so TAKE CARE; cross where possible at traffic light controlled 22 South Side 23 crossings. Public toilets are located in Nicolson Square 20 19 near start and end of walk. The walk begins at NE corner of Crown Office George Square (Route Map locality 1). 18 17 16 35 14 36 Further Reading 13 15 McMillan, A A, Gillanders, R J and Fairhurst, J A. 1999 National Museum of Scotland Building Stones of Edinburgh. 2nd Edition. Edinburgh Geological Society. 12 11 Lothian & Borders GeoConservation leaflets including Telfer Wall Calton Hill, and Craigleith Quarry (http://www. 9 8 Central 7 Finish Mosque edinburghgeolsoc.org/r_download.html) 10 38 37 Quartermile, formerly 6 CHAP the Royal Infirmary of Acknowledgements. 1 EL Edinburgh S T Text: Andrew McMillan and Richard Gillanders with Start . 5 contributions from David McAdam and Alex Stark. 4 2 3 LACE CLEUCH P Map adapted with permission from The Buildings of BUC Scotland: Edinburgh (Pevsner Architectural Guides, Yale University Press), by J. Gifford, C. McWilliam and D. -
The Changing Face of the National Museum of Scotland Amy Clarke
Great Narratives of the Past. Traditions and Revisions in National Museums Conference proceedings from EuNaMus, European National Museums: Identity Politics, the Uses of the Past and the European Citizen, Paris 29 June – 1 July & 25-26 November 2011. Dominique Poulot, Felicity Bodenstein & José María Lanzarote Guiral (eds) EuNaMus Report No 4. Published by Linköping University Electronic Press: http://www.ep.liu.se/ecp_home/index.en.aspx?issue=078 © The Author. From Royal to National: The Changing Face of the National Museum of Scotland Amy Clarke The University of Queensland Abstract Since devolution in 1997 Scotland has been a nation increasingly conscious of its national brand. The Scottish government has undertaken several international partnerships in the fields of culture, education and commerce, and through its rhetoric and policy the government appears to be encouraging a global perception of Scotland as a nation in the throes of a ‘New Enlightenment.’ The National Museum of Scotland (and former Royal Museum) has benefited from this alleged cultural renaissance, having reopened July 2011 following its second renovation in less than 15 years. Comprised of two separate buildings, the former Royal Museum (1854) and the Museum of Scotland (1998), the National Museum of Scotland’s most recent construction program restored and modernised the Royal Museum structure, which had originally been built as an Industrial Museum before receiving Royal status in 1904. Given the fact that the Royal Museum’s origins were in part a testament to Scotland’s position in the United Kingdom and British Empire, the current Museum’s new form communicates much about the evolution of Scotland’s national identity and its relationship with the world Scotland’s evolution from 19th century industrial powerhouse of the British Empire to the increasingly independent ‘Enlightened’ nation of today has been echoed by the ever-changing form of its national Museum. -
The Daniel Wilson Scrapbook
The Daniel Wilson Scrapbook Illustrations of Edinburgh and other material collected by Sir Daniel Wilson, some of which he used in his Memorials of Edinburgh in the olden time (Edin., 1847). The following list gives possible sources for the items; some prints were published individually as well as appearing as part of larger works. References are also given to their use in Memorials. Quick-links within this list: Box I Box II Box III Abbreviations and notes Arnot: Hugo Arnot, The History of Edinburgh (1788). Bann. Club: Bannatyne Club. Beattie, Caledonia illustrated: W. Beattie, Caledonia illustrated in a series of views [ca. 1840]. Beauties of Scotland: R. Forsyth, The Beauties of Scotland (1805-8). Billings: R.W. Billings, The Baronial and ecclesiastical Antiquities of Scotland (1845-52). Black (1843): Black’s Picturesque tourist of Scotland (1843). Black (1859): Black’s Picturesque tourist of Scotland (1859). Edinburgh and Mid-Lothian (1838). Drawings by W.B. Scott, engraved by R. Scott. Some of the engravings are dated 1839. Edinburgh delineated (1832). Engravings by W.H. Lizars, mostly after drawings by J. Ewbank. They are in two series, each containing 25 numbered prints. See also Picturesque Views. Geikie, Etchings: Walter Geikie, Etchings illustrative of Scottish character and scenery, new edn [1842?]. Gibson, Select Views: Patrick Gibson, Select Views in Edinburgh (1818). Grose, Antiquities: Francis Grose, The Antiquities of Scotland (1797). Hearne, Antiquities: T. Hearne, Antiquities of Great Britain illustrated in views of monasteries, castles and churches now existing (1807). Heriot’s Hospital: Historical and descriptive account of George Heriot’s Hospital. With engravings by J. -
Mphil Plus Declaration
The motivation for creating the Museum of Scotland, and the educational effectiveness of its history content for the visiting public Ronnie Cramond MPhil by Research. The University of Edinburgh, 2011 2 Contents Acknowledgements 3 Abbreviations 4 Disclaimer/declaration 5 Abstract 6 Introduction The Aim and Shape of the Research 8 Part One The Creation and Purpose of the Museum of Scotland 10 Part Two The Role of Education and Learning in Museums 42 Part Three The Displays in the Museum of Scotland 57 Part Four The Evaluation of Visitor Reaction 113 Section 1 Evaluations conducted at sites not part of NMS 116 Section 2 Visitor reaction to the original displays in the Museum of Scotland 121 Section 3 Visitor reaction to the later (2008) Scotland: A Changing Nation 151 Section 4 Visitor reaction to a display at East Fortune airfield about that site’s 155 history. Overall conclusions 159 Appendices 1 Is MoS unique in the UK as a National History Museum? 162 2 The Philip Committee Report 163 3 Membership of the Museums Advisory Board 164 4 MAB paper of 21 December, 1984 165 5 Statutory Objectives of the Museum of Scotland 166 6 Reference Manual for the Museum of Scotland Project 166 7 Patrons' Council 167 8 The Industrial Museum's ‘Civilising’ Mission 167 9 Guide Training 168 10 History Beyond the Text: A students' guide to approaching alternative sources 169 11 The Declaration of Arbroath as the Contractual Theory of Monarchy ? 171 12 Questionnaire for 2009/10 Visitor Survey in the Museum of Scotland 173 13 Customer Service Standards for Visitor Operations 174 14 Mini Groups, and Teachers’ Feedback. -
Sir Walter Scott's Templar Construct
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. SIR WALTER SCOTT’S TEMPLAR CONSTRUCT – A STUDY OF CONTEMPORARY INFLUENCES ON HISTORICAL PERCEPTIONS. A THESIS PRESENTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN HISTORY AT MASSEY UNIVERSITY, EXTRAMURAL, NEW ZEALAND. JANE HELEN WOODGER 2017 1 ABSTRACT Sir Walter Scott was a writer of historical fiction, but how accurate are his portrayals? The novels Ivanhoe and Talisman both feature Templars as the antagonists. Scott’s works display he had a fundamental knowledge of the Order and their fall. However, the novels are fiction, and the accuracy of some of the author’s depictions are questionable. As a result, the novels are more representative of events and thinking of the early nineteenth century than any other period. The main theme in both novels is the importance of unity and illustrating the destructive nature of any division. The protagonists unify under the banner of King Richard and the Templars pursue a course of independence. Scott’s works also helped to formulate notions of Scottish identity, Freemasonry (and their alleged forbearers the Templars) and Victorian behaviours. However, Scott’s image is only one of a long history of Templars featuring in literature over the centuries. Like Scott, the previous renditions of the Templars are more illustrations of the contemporary than historical accounts. One matter for unease in the early 1800s was religion and Catholic Emancipation.