Top historic sites in Edinburgh

St Giles' Cathedral

A parish church was established in Edinburgh as early as 854. This first church, a modest affair, was probably in use for several centuries before a new one was founded in the 1120s. The 12th-century church was part of an effort of the Scottish royal family, especially David I (1124-1153), to spread Catholic worship throughout the Scottish lowlands. This church was probably quite small, Norman (Romanesque) in style, like ...
Founded: 12th century | Location: Edinburgh, United Kingdom

Edinburgh Castle

Edinburgh Castle is a historic fortress which dominates the skyline of the city of Edinburgh from its position on the Castle Rock. Archaeologists have established human occupation of the rock since at least the Iron Age (2nd century AD), although the nature of the early settlement is unclear. There has been a royal castle on the rock since at least the reign of David I in the 12th century, and the site continued to be a r ...
Founded: 12th century | Location: Edinburgh, United Kingdom

Edinburgh Old Town

Edinburgh Old Town has preserved much of its medieval street plan and many Reformation-era buildings. The 'Royal Mile' is a name coined in the early 20th-century for the main artery of the Old Town which runs on a downwards slope from Edinburgh Castle to both Holyrood Palace and the ruined Holyrood Abbey. Narrow closes (alleyways), often no more than a few feet wide, lead steeply downhill to both north and south ...
Founded: | Location: Edinburgh, United Kingdom

National Museum of Scotland

The National Museum of Scotland is one of the Top 10 UK visitor attractions, and in the Top 20 of the most visited museums and galleries in the world. The museum houses a spectacular array of over 20,000 fascinating artefacts. The National Museum incorporates the collections of the former National Museum of Antiquities of Scotland, and the Royal Museum. As well as the national collections of Scottish archaeological finds ...
Founded: 1861 | Location: Edinburgh, United Kingdom

Calton Hill

Calton Hill in central Edinburgh is included in the city's UNESCO World Heritage Site. Views of, and from, the hill are often used in photographs and paintings of the city. Calton Hill is the headquarters of the Scottish Government, which is based at St Andrew's House, on the steep southern slope of the hill; with the Scottish Parliament Building, and other notable buildings, for example Holyrood Palace, lying near the f ...
Founded: | Location: Edinburgh, United Kingdom

Holyrood Palace

The Palace of Holyroodhouse, commonly referred to as Holyrood Palace, is the official residence of the British monarch in Scotland. Located at the bottom of the Royal Mile in Edinburgh, at the opposite end to Edinburgh Castle, Holyrood Palace has served as the principal residence of the Kings and Queens of Scots since the 16th century, and is a setting for state occasions and official entertaining. Queen Elizabeth spends ...
Founded: 1671-1678 | Location: Edinburgh, United Kingdom

Holyrood Abbey Ruins

Holyrood Abbey was founded in 1128 by King David I. The original abbey church of Holyrood was largely reconstructed between 1195 and 1230. The completed building consisted of a six-bay aisled choir, three-bay transepts with a central tower above, and an eight-bay aisled nave with twin towers at its west front. During the 15th century, the abbey guesthouse was developed into a royal residence, and after the Scottish Reform ...
Founded: 1128 | Location: Edinburgh, United Kingdom

Edinburgh New Town

Inspired by the lofty ideals of the Scottish Enlightenment, the neat and ordered grid of the Edinburgh New Town provides an elegant contrast to the labyrinthine design of the Old Town. Its broad streets boast spectacular neoclassical and Georgian architecture, with a wealth of beautiful buildings perfectly preserved since their construction in the 18th and 19th centuries. Visitors are treated to a glimpse of how the city ...
Founded: 18th century | Location: Edinburgh, United Kingdom

Royal Botanic Garden

The Royal Botanic Garden Edinburgh (RBGE) is a scientific centre for the study of plants, their diversity and conservation, as well as a popular tourist attraction. Originally founded in 1670 as a physic garden to grow medicinal plants, today it occupies four sites across Scotland — Edinburgh, Dawyck, Logan and Benmore — each with its own specialist collection. The RBGE"s living collection consists of mor ...
Founded: 1670/1820 | Location: Edinburgh, United Kingdom

Craigmillar Castle

Craigmillar is one of Scotland’s most perfectly preserved castles. It began as a simple tower-house residence. Gradually, over time, it developed into a complex of structures and spaces, as subsequent owners attempted to improve its comfort and amenity. As a result, there are many nooks and crannies to explore. The surrounding gardens and parkland were also important. The present-day Craigmillar Castle Park has fascina ...
Founded: c. 1375-1425 | Location: Edinburgh, United Kingdom

Lauriston Castle

Lauriston Castle is a 16th-century tower house with 19th-century extensions overlooking the Firth of Forth. The castle stood on this site in medieval times but was almost totally destroyed in the raids on Edinburgh in 1544 by the earl of Hertford. A tower house was re-built around 1590 by Sir Archibald Napier of Merchiston, father of John Napier, for his younger son, also named Archibald. Later, it was the home of John L ...
Founded: c. 1590 | Location: Edinburgh, United Kingdom

Forth Bridge

The Forth Bridge is a cantilever railway bridge over the Firth of Forth. It is considered an iconic structure and a symbol of Scotland, and is a UNESCO World Heritage Site. It was designed by the English engineers Sir John Fowler and Sir Benjamin Baker. Construction of the bridge began in 1882 and it was opened on 4 March 1890 by the Prince of Wales, the future Edward VII. The bridge spans the Forth between the villages ...
Founded: 1882-1890 | Location: Queensferry, United Kingdom

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Château de Vaux-le-Vicomte

The Château de Vaux-le-Vicomte is a baroque French château built between 1658-1661 for Nicolas Fouquet. It was made for Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV, the château was an influential work of architecture in mid-17th century Europe. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on a large-scale project for the first time. Their collaboration marked the beginning of the 'Louis XIV style' combining architecture, interior design and landscape design. The garden's pronounced visual axis is an example of this style.

To secure the necessary grounds for the elaborate plans for Vaux-le-Vicomte’s garden and castle, Fouquet purchased and demolished three villages. The displaced villagers were then employed in the upkeep and maintenance of the gardens. It was said to have employed eighteen thousand workers and cost as much as 16 million livres. The château and its patron became for a short time a focus for fine feasts, literature and arts. The poet La Fontaine and the playwright Molière were among the artists close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with a dinner event organized by François Vatel, and an impressive firework show.

After Fouquet was arrested and imprisoned for life, and his wife exiled, Vaux-le-Vicomte was placed under sequestration. The king seized, confiscated or purchased 120 tapestries, the statues, and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists (Le Vau, Le Nôtre and Le Brun) to design what would be a much larger project than Vaux-le-Vicomte, the palace and gardens of Versailles.

The Marshal Villars became the new owner without first seeing the chateau. In 1764, the Marshal's son sold the estate to the Duke of Praslin, whose descendants would maintain the property for over a century. It is sometimes mistakenly reported that the château was the scene of a murder in 1847, when duke Charles de Choiseul-Praslin, killed his wife in her bedroom, but this did not happen at Vaux-le-Vicomte but at the Paris residence of the Duke.

In 1875, after thirty years of neglect, the estate was sold to Alfred Sommier in a public auction. The château was empty, some of the outbuildings had fallen into ruin, and the famous gardens were totally overgrown. The huge task of restoration and refurbishment began under the direction of the architect Gabriel-Hippolyte Destailleur, assisted by the landscape architect Elie Lainé. When Sommier died in 1908, the château and the gardens had recovered their original appearance. His son, Edme Sommier, and his daughter-in-law completed the task. Today, his descendants continue to preserve the château, which remains privately owned by Patrice and Cristina de Vogüé, the Count and Countess de Vogüé. It is now administered by their three sons Alexandre, Jean-Charles and Ascanio de Vogüé. Recognized by the state as a monument historique, it is open to the public regularly.

Architecture

The chateau is situated near the northern end of a 1.5-km long north-south axis with the entrance front facing north. Its elevations are perfectly symmetrical to either side of this axis. Somewhat surprisingly the interior plan is also nearly completely symmetrical with few differences between the eastern and western halves. The two rooms in the center, the entrance vestibule to the north and the oval salon to the south, were originally an open-air loggia, dividing the chateau into two distinct sections. The interior decoration of these two rooms was therefore more typical of an outdoor setting. Three sets of three arches, those on the entrance front, three more between the vestibule and the salon, and the three leading from the salon to the garden are all aligned and permitted the arriving visitor to see through to the central axis of the garden even before entering the chateau. The exterior arches could be closed with iron gates, and only later were they filled in with glass doors and the interior arches with mirrored doors. Since the loggia divided the building into two halves, there are two symmetrical staircases on either side of it, rather than a single staircase. The rooms in the eastern half of the house were intended for the use of the king, those in the western were for Fouquet. The provision of a suite of rooms for the king was normal practice in aristocratic houses of the time, since the king travelled frequently.

Another surprising feature of the plan is the thickness of the main body of the building (corps de logis), which consists of two rows of rooms running east and west. Traditionally the middle of the corps de logis of French chateaux consisted of a single row of rooms. Double-thick corps de logis had already been used in hôtels particuliers in Paris, including Le Vau's Hôtel Tambonneau, but Vaux was the first chateau to incorporate this change. Even more unusual, the main rooms are all on the ground floor rather than the first floor (the traditional piano nobile). This accounts for the lack of a grand staircase or a gallery, standard elements of most contemporary chateaux. Also noteworthy are corridors in the basement and on the first floor which run the length of house providing privacy to the rooms they access. Up to the middle of the 17th century, corridors were essentially unknown. Another feature of the plan, the four pavilions, one at each corner of the building, is more conventional.

Vaux-le-Vicomte was originally planned to be constructed in brick and stone, but after the mid-century, as the middle classes began to imitate this style, aristocratic circles began using stone exclusively. Rather late in the design process, Fouquet and Le Vau switched to stone, a decision that may have been influenced by the use of stone at François Mansart's Château de Maisons. The service buildings flanking the large avant-cour to the north of the house remained in brick and stone, and other structures preceding them were in rubble-stone and plaster, a social ranking of building materials that would be common in France for a considerable length of time thereafter.

The main chateau is constructed entirely on a moated platform, reached via two bridges, both aligned with the central axis and placed on the north and south sides. The moat is a picturesque holdover from medieval fortified residences, and is again a feature that Le Vau may have borrowed from Maisons. The moat at Vaux may also have been inspired by the previous chateau on the site, which Le Vau's work replaced.

Gardens

The château rises on an elevated platform in the middle of the woods and marks the border between unequal spaces, each treated in a different way. This effect is more distinctive today, as the woodlands are mature, than it was in the seventeenth century when the site had been farmland, and the plantations were new.

Le Nôtre's garden was the dominant structure of the great complex, stretching nearly a mile and a half (3 km), with a balanced composition of water basins and canals contained in stone curbs, fountains, gravel walks, and patterned parterres that remains more coherent than the vast display Le Nôtre was to create at Versailles.

Le Nôtre created a magnificent scene to be viewed from the house, using the laws of perspective. Le Notre used the natural terrain to his advantage. He placed the canal at the lowest part of the complex, thus hiding it from the main perspectival point of view. Past the canal, the garden ascends a large open lawn and ends with the Hercules column added in the 19th century. Shrubberies provided a picture frame to the garden that also served as a stage for royal fêtes.

From the top of the grand staircase, this gives the impression that the entire garden is revealed in one single glance. Initially, the view consists of symmetrical rows of shrubbery, avenues, fountains, statues, flowers and other pieces developed to imitate nature – these elements exemplify the Baroque desire to mold nature to fit its wishes, thus using nature to imitate nature. The centerpiece is a large reflecting pool flanked by grottos holding statues in their many niches. The grand sloping lawn is not visible until one begins to explore the garden, when the viewer is made aware of the optical elements involved and discovers that the garden is much larger than it looks.