My final full day in Edinburgh began with a short tram ride for a group visit to the royal yacht HMY Brittania. It was used by the royal family from 1954 to 1997, when it was decommissioned. The Brittania is now permanently docked at the Ocean Terminal in Edinburgh’s port of Leith, which flows into the Firth of Forth. It has become a very popular tourist attraction.
Here are some statistics: length 412 feet; width 55 feet; 3 masts; main mast 139 feet; maximum speed 22.5 knots. Given the size of the yacht and the facilities on board, it’s not surprising that it required a huge staff. In addition to 20 officers of the Royal Navy, there were 220 yachtsmen, including the Royal Marine Band. (Doesn’t everyone travel with their own band???)
Using audio guides, we toured several decks of the yacht. It seemed to be a floating hotel or palace. In addition to all the meal preparation and food storage areas, there was a full-scale laundry and a hospital. The queen’s bedroom and family sitting room weren’t particularly impressive but the formal dining room certainly was.
They even kept a Rolls Royce, similar to this one, on board.
There was a strongly defined hierarchy on the yacht, with well-appointed special lounges for the officers. While their sleeping quarters didn’t include private bathrooms, at least they had a little more space than the non-commissioned officers and other crew members, whose sleeping accommodations consisted of folding bunks and were extremely cramped.
I learned that every item on the yacht is cleaned and polished daily. In addition, when the yacht was in use, there were daily security checks, both on board and underwater. Divers would scour the floor of the harbor where the yacht was docked.
While I was on the Brittania, I stopped in its tea room for a pot of jasmine tea and a fruit scone with clotted cream and strawberry preserves.
After visiting the yacht, I was on my own for the remainder of the day until our farewell dinner. I took the tram back to Princes Street in the New Town. The weather was perfect for strolling around the city. The tall tower, nicknamed the Gothic Rocket, is the monument to Scottish writer Sir Walter Scott. His highly romantic novels, written in the early 1800s, are credited with popularizing Scotland as a tourist destination.
So many people were out enjoying the sprawling lawns of the Princes Street Gardens on this sunny afternoon.
There were great views as I walked beside the gardens on a steep hill called The Mound. The green dome belongs to the West Register House in Charlotte Square.
I easily found the Scottish National Galleries, the art museum I’d looked for the previous day. I had a chance to see the work of a group of artists known as the Glasgow Boys. Their work, from 1880 to 1900, represents the beginning of modernism in Scottish art. Primary influences on their work were French realism, Japanese prints, and James McNeill Whistler. One of the most well-known Glasgow Boys was James Guthrie, whose work is pictured below.
William McTaggart painted a sea and landscape showing the arrival of the Irish monk Columba on Scottish shores, a historical event from the 6th century.
The galleries introduced me to the exciting work of the Scottish Colourists, who were active during the Art Nouveau period. Robert Burns (not the poet), who painted The Hunt in 1926, was an interior designer as well as a painter.
I saw the work of Samuel John Peploe for the first time.
William Crozier’s 1927 painting of Edinburgh was inspired by Cubism.
One of the most interesting figures I learned about was artist-designer Phoebe Anna Traquair (1852-1936), one of the leading figures of the Arts and Crafts movement. Her work is associated with both Scottish Symbolism and the revival of interest in Celtic mythology and design. She was also influenced by the painting and poetry of William Blake and a group of 19th century British artists called the pre-Raphaelites. The imagery in her 1904 painting, The Awakening, represents the awakening of the human spirit.
Traquair was an accomplished muralist, enameller, furniture decorator, and embroiderer as well as a painter. A keen observer of nature, she created a series of four embroidered panels called The Progress of a Soul. The rich colors and intricate needlework are breathtaking.
More familiar artists were also represented in the museum. Vincent van Gogh’s Orchard with Apricot Trees in Blossom was painted in 1888.
Claude Monet’s scene of poplar trees in Normandy, Poplars on the Epte, dates back to 1891.
John Singer Sargent achieved great success with this 1892-3 portrait of Gertrude Vernon, the British Lady Agnew. I’d long admired this painting and never realized it was in Edinburgh.
There were even paintings by three Renaissance masters: Leonardo da Vinci’s The Madonna of the Yarnwinder, painted in 1501; Sandro Botticelli’s The Virgin Adoring the Sleeping Christ Child from about 1485; and Raphael’s circular Holy Family with Palm Tree from 1506-7.
The final evening of my trip concluded with a farewell dinner that showcased the best of Scottish cuisine. I wish I had discovered the creamy smoked haddock and potato chowder called Cullen skink sooner. The pan-fried coley (known as pollock in the U.S.) was delicious, as was the crème brulée.
OAT certainly knew what they were doing when they planned the itinerary for this Scottish adventure. From Glasgow to Edinburgh and all of the places in between, it brought together lively cities, beautiful countryside, fascinating history, and the vibrancy of life today. Stephen was a superb guide, and I thank my fellow travelers for sharing open minds and a contagious sense of fun. And special thank you to Marcin, who drove us safely throughout the trip and took this final photo of our group.
Scotland may not have been the most exotic of destinations, but it was full of unexpected delights. I would highly recommend it if you’re looking for a very interesting place where you can understand the language and drink the tap water.