Seeing the castle’s highlights—described on this tour—takes about 1.5 hours.

1 Entry Gate: Approaching from the esplanade, you’re greeted by the two greatest Scottish heroes. Flanking the entryway are statues of the fierce warriors who battled English invaders, William Wallace (on the right) and Robert the Bruce (left). Between them is the Scottish motto, Nemo me impune lacessit—roughly, “No one messes with me and gets away with it.”

Once inside, start winding your way uphill toward the main sights—the crown jewels and the Royal Palace—located near the summit. Since the castle was protected on three sides by sheer cliffs, the main defense had to be here at the entrance. During the castle’s heyday in the 1500s, a 100-foot tower loomed overhead, facing the city.

• Passing through the portcullis gate, you reach the...

2 Argyle (Six-Gun) Battery, with View: These front-loading, cast-iron cannons are from the Napoleonic era, around 1800, when the castle was still a force to be reckoned with.

From here, look north across the valley to the grid of the New Town. The valley (directly below) sits where the Nor’ Loch once was; this lake was drained and filled in when the New Town was built in the late 1700s, its swamps replaced with gardens. Later the land provided sites for the Greek-temple-esque Scottish National Gallery (above the train line tunnels), Waverley Station (with its glass roof), and the tall, lacy Sir Walter Scott Memorial. Looking farther north, you can make out the port town of Leith (facing the island of Inchkeith), the Firth of Forth, and—in the far, far distance (to the extreme right)—the cone-like mountain of North Berwick Law, a former volcano.

Now look down. The sheer north precipice looks impregnable. But on the night of March 14, 1314, 30 armed men silently scaled this rock face. They were loyal to Robert the Bruce and determined to recapture the castle, which had fallen into English hands. They caught the English by surprise, took the castle, and—three months later—Bruce defeated the English at the Battle of Bannockburn.

• A little farther along, to the right of the Redcoat Café, is the...

3 One O’Clock Gun: Crowds gather for the 13:00 gun blast (which comes with a little military ceremony, followed by a startling boom), a tradition that gives ships in the bay something to set their navigational devices by. Before the gun, sailors set their clocks with help from the Nelson Monument—that’s the tall pillar in the distance on Calton Hill. The monument has a “time ball” affixed to the cross on top, which drops precisely at the top of the hour. But on foggy days, ships couldn’t see the ball, so the cannon shot was instituted instead (1861). The tradition stuck, and the gun is fired every day at 13:00 (none on Sundays, Christmas, or Good Friday). For more information, there’s a small exhibit just down the stairs.

• From the One O’Clock exhibit, you can take in breezy views on an optional detour along the...

5 Western Defences Walk: For many years this one-way route was closed to the public, and it still may be closed if you’re here off-season. It runs about 200 yards around the walls of the castle (with several short staircases along the way), providing spectacular views of the New Town and West End—and on some days, a powerful wind. The walk ends at the back door of the National War Museum. Go out through the museum’s main entrance (we’ll return here later), then follow the ramp to the right to the Redcoat Café, not far from the One O’Clock Gun, where our detour started.

• Head uphill, winding to the left and passing through Foog’s Gate. At the very top of the hill, climb up the stairs on your left to reach...

5 St. Margaret’s Chapel: This small stone chapel is Edinburgh’s oldest building (around 1120) and sits atop its highest point (440 feet). It represents the birth of the city.

In 1057, Malcolm III murdered King Macbeth (of Shakespeare fame) and assumed the Scottish throne. Later, he married Princess Margaret, and the family settled atop this hill. Their marriage united Malcolm’s Highland Scots with Margaret’s Lowland Anglo-Saxons—the cultural mix that would define Edinburgh.

Step inside the tiny unadorned church, a testament to Margaret’s reputed piety. The elegant stone structure is Romanesque. The nave is wonderfully simple, with classic Norman zigzags decorating the round arch that separates the tiny nave from the sanctuary. You’ll see a facsimile of St. Margaret’s 11th-century gospel book. The small (19th-century Victorian) stained-glass windows feature St. Margaret herself, St. Columba, St. Ninian (who brought Christianity to Scotland in AD 397), St. Andrew (Scotland’s patron saint), and William Wallace (the defender of Scotland). These days, the place is popular for weddings. (As it seats only 20, it’s particularly popular with parents funding the festivities.)

Margaret died at the castle in 1093, and her son King David I built this chapel in her honor (she was sainted in 1250). David expanded the castle and also founded Holyrood Abbey, across town. These two structures were soon linked by a Royal Mile of buildings, and Edinburgh was born.

Mons Meg, in front of the church, is a huge and once-upon-a-time frightening 15th-century siege cannon that fired 330-pound stones nearly two miles. Look at the huge granite cannon balls and imagine. It was a gift from Philip the Good, duke of Burgundy, to his great-niece’s husband, King James II of Scotland.

Nearby, belly up to the banister and look down to find the Dog Cemetery, a tiny patch of grass with a sweet little line of doggie tombstones, marking the graves of soldiers’ faithful canines-in-arms.

• Head back down the stairs and carry on straight ahead, along more cannons. Curve right around the big building to enter...

6 Crown Square: This courtyard is the center of today’s castle complex. Get oriented. You’re surrounded by the crown jewels, the Royal Palace (with its Great Hall), and the Scottish National War Memorial.

The castle has evolved over the centuries, and Crown Square is relatively “new.” After the time of Malcolm and Margaret, the castle was greatly expanded by David II (1324-1371), complete with tall towers, a Great Hall, dungeon, cellars, and so on. This served as the grand royal residence for two centuries. Then, in 1571-1573, the Protestant citizens of Edinburgh laid siege to the castle and its Catholic/monarchist holdouts, eventually blasting an earlier castle to smithereens. The palace was rebuilt nearby—around what is today’s Crown Square.

• We’ll tour the buildings around Crown Square. First up: the crown jewels, on your left. There’s often a long line outside; pass the time by reading up on the history, next.

7 Scottish Crown Jewels: For centuries, Scotland’s monarchs were crowned in elaborate rituals involving three wondrous objects: a jewel-studded crown, scepter, and sword. This regalia, along with the ceremonial Stone of Scone (pronounced “skoon”; not displayed here), is known as the “Honours of Scotland.” Scotland’s crown jewels may not be as impressive as England’s, but locals treasure them as a symbol of Scottish nationalism. They’re also older than England’s; while Oliver Cromwell destroyed England’s jewels, the Scots managed to hide theirs.

History of the Jewels: In 1306, Robert the Bruce was crowned with a “circlet of gold” in a ceremony at Scone—a town 40 miles north of Edinburgh, which Scotland’s earliest kings had claimed as their capital. Around 1500, King James IV added two new items to the coronation ceremony—a scepter (a gift from the pope) and a huge sword (a gift from another pope). In 1540, James V had the original crown augmented by an Edinburgh goldsmith, giving it the imperial-crown shape it has today.

These Honours were used to crown every monarch: nine-month-old Mary, Queen of Scots (she cried); her one-year-old son James VI (future king of England); and Charles I and II. But the days of divine-right rulers were numbered.

In 1649, the parliament had Charles I (king of both England and Scotland) beheaded. Soon Cromwell’s rabid English antiroyalists were marching on Edinburgh. Quick! Hide the jewels! Legend says two women scooped up the crown and sword, hid them in their skirts, and buried them in a church far to the northeast until the coast was clear.

When the monarchy was restored, the regalia were used to crown Scotland’s last king, Charles II (1660). Then, in 1707, the Treaty of Union with England ended Scotland’s independence. The Honours came out for a ceremony to bless the treaty and were then locked away in a strongbox in the castle. There they lay for over a century, until Sir Walter Scott—the writer and great champion of Scottish tradition—forced a detailed search of the castle in 1818. The box was found...and there the Honours were, perfectly preserved. Within a few years, they were put on display, as they have been ever since.

The crown was taken across town to the grand opening of the reinstated parliament in 1999, marking a new chapter in the Scottish nation. As it represents the monarchy, the crown is present whenever a new session of parliament opens. (And if Scotland ever secedes, you can be sure that crown will be in the front row.)

The Honours: After spiraling up a short stone staircase and past several informational displays and murals, you’ll enter the Crown Room to see the regalia. The four-foot steel sword (known as the Sword of State) was made in Italy under orders of Pope Julius II (who also commissioned Michelangelo’s Sistine Chapel and St. Peter’s Basilica). The scepter is made of silver, covered with gold, and topped with a rock crystal and a pearl. The gem- and pearl-encrusted crown has an imperial arch topped with a cross. Legend says the band of gold in the center is the original crown that once adorned the head of Robert the Bruce.

To the left of the Sword of State sits the Elizabeth Sword, crafted in Scotland in honor of Queen Elizabeth II and presented to King Charles III after her death. Because the Sword of State has been deemed too fragile to leave the display case, the Elizabeth Sword now takes its place for ceremonial functions.

Notable by its absence is one of the greatest symbols of the Scottish monarchy—the Stone of Scone. This is the ceremonial slab of rock that Scotland’s ancient kings (9th-13th centuries) once sat upon as they were crowned. In 1296, when Edward I of England conquered Scotland, he stole the Stone and carried it back to Westminster Abbey. Ever since then, British monarchs—including current King Charles—have been crowned atop the Stone, as it nestles beneath the coronation throne.

For years, Scots fumed that the English had stolen their Stone, just as they’d stolen their independence. In 1950, four patriotic (if foolish) Scottish students broke into Westminster Abbey and smuggled the Stone back to Scotland (they surrendered the stone after three months and back to London it went). Finally, in 1996, in recognition of increased Scottish autonomy, Queen Elizabeth agreed to let the stone go...on one condition: that it be loaned to Westminster Abbey for all future coronations. The “Stone of Destiny” had at last returned to Scotland. (Unfortunately for castle visitors, its permanent home is in Perth.)

• Exit the crown jewel display, heading down the stairs. But just before exiting into the courtyard, turn left through a door that leads into the...

8 Royal Apartments: Scottish royalty lived in the Royal Palace only when safety or protocol required it (they preferred the Palace of Holyroodhouse at the bottom of the Royal Mile). Here you can see several rooms that are historic, if not quite thrilling. From the main room where you enter, peek into the smaller, wood-paneled room labeled Birthplace of James VI—where Mary, Queen of Scots (1542-1587), gave birth to James VI of Scotland, who later became King James I of England. Farther along, Laich Hall (Lower Hall) was the dining room of the royal family.

• Head back outside, turn left across the square, and find the entry on the left to the...

9 Great Hall: Built by James IV to host the castle’s official banquets and meetings, the Great Hall is still used for such purposes today. Most of the interior—its fireplace, carved walls, pikes, and armor—is Victorian. But the well-constructed wood ceiling is original. This hammer-beam roof (constructed like the hull of a ship) is self-supporting. The complex system of braces and arches distributes the weight of the roof outward to the walls, so there’s no need for supporting pillars or long cross beams. Look for the tiny iron-barred window above the fireplace, on the right. This allowed the king to spy on his subjects while they partied.

• Back outside, across the Crown Square courtyard is the...

10 Scottish National War Memorial: This commemorates the 149,000 Scottish soldiers lost in World War I, the 58,000 who died in World War II, and the nearly 800 (and counting) lost in British battles since. Before entering, notice how the Art Deco facade (built in the 1920s with the historic stones of a church that once stood on this spot) fits perfectly with the surrounding buildings.

Inside, the main memorial is directly ahead, and there’s a wing on each side to wander through. Scenes in the stained-glass windows refer to World War I. Memorials honor regiments from each of the four branches of the British military; maroon remembrance books list all the names of the fallen. No photos are allowed inside, out of respect.

The main shrine, featuring a green Italian-marble memorial that contains the original WWI rolls of honor, sits on an exposed chunk of the castle rock. Above you, the Archangel Michael is busy slaying a dragon. The bronze frieze accurately shows the attire of various wings of Scotland’s military. The stained glass starts with Cain and Abel on the left and finishes with a celebration of peace on the right. To appreciate how important this place is, consider that Scottish soldiers died at twice the rate per capita of other British soldiers in World War I.

• There are several other exhibits (including “Prisons of War,” which re-creates prison life in the castle in 1781), memorials, and regimental museums in the castle. If you have seen enough, the Lang Stairs near St. Margaret’s Chapel are a shortcut leading down to the Argyle Battery and the exit.

But there is one more important stop—the National War Museum. Backtrack down the hill toward the Redcoat Café (and the One O’Clock Gun). Just before the café, head downhill to the left to the museum courtyard. The statue in front of the museum is Field Marshal Sir Douglas Haig—the Scotsman who commanded the British Army through the WWI trench warfare of the Battle of the Somme and in Flanders Fields.

11 National War Museum Scotland: This thoughtful museum covers four centuries of Scottish military history. Instead of the usual musty, dusty displays of endless armor, there’s a compelling mix of videos, uniforms, weapons, medals, mementos, eloquent excerpts from soldiers’ letters, and a small display recognizing the contributions of women in the war effort. Your castle audioguide includes coverage of this museum, and the 12-minute introductory video in the upstairs theater is worth watching.

Here you’ll learn how the fierce and courageous Scottish warrior changed from being a symbol of resistance against Britain to being a champion of that same empire. Along the way, these military men received many decorations for valor and did more than their share of dying in battle. But even when fighting alongside—rather than against—England, Scottish regiments still promoted their romantic, kilted-warrior image.

Queen Victoria fueled this ideal throughout the 19th century. She was infatuated with the Scottish Highlands and the culture’s untamed, rustic mystique. Highland soldiers, especially officers, went to great personal expense to sport all their elaborate regalia, and the kilted men fought best to the tune of their beloved bagpipes. For centuries the stirring drone of bagpipes accompanied Highland soldiers into battle—raising their spirits and announcing to the enemy that they were about to meet a fierce and mighty foe.

This museum shows the human side of war as well as the cleverness of government-sponsored ad campaigns that kept the lads enlisting. Two centuries of recruiting posters make the same pitch that still works today: a hefty signing bonus, steady pay, and job security with the promise of an adventurous life—all spiked with a mix of pride and patriotism.

Our tour is over. To exit, retrace your steps toward the Argyle Battery and the entry gate. Consider for a moment all the bloody history and valiant struggles, along with British power and Scottish pride, that have shaped the city over which you are perched.

A big deal when it was built in 1853, this observatory topped with a mirror reflected live images onto a disc before the wide eyes of people who had never seen a photograph or a captured image. Today, you can climb 100 steps for an entertaining 10-minute demonstration (3-4/hour). At the top, enjoy the best view anywhere of the Royal Mile. On your way up and down, you’ll be routed through five floors of illusions, holograms, and entertaining gags. You can even use live cams to zoom in and out on locations nearby.

Cost and Hours: £23.95, in peak season book online a few days in advance to ensure entry and to skip the ticket-buying line; open daily July-Aug 9:00-22:00, off-season until 19:00—but often later on weekends; +44 131 226 3709, camera-obscura.co.uk.

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This is a typical 16th- to- 17th-century merchant’s “land,” or tenement building. These multistory structures—in which merchants ran their shops on the ground floor and lived upstairs—were typical of the time (the word “tenement” didn’t have the slum connotation then that it has today). At six stories, this one was still just half the height of the tallest “skyscrapers.” Gladstone’s Land comes complete with an almost lived-in, furnished interior under 400-year-old painted ceiling beams. While this is a fascinating sight in its own right, it’s made meaningful by wonderful, informative volunteers who love to tell its story—don’t miss chatting with them.

Cost and Hours: £10, open daily 10:00-15:00 (last entry time); +44 131 226 5856, nts.org.uk/visit/gladstones-land.

Tours: Free tour with admission offered daily at 15:00; “social history” tours run a few times weekly—see website for themes, prices, and times.

Visiting the Museum: Buy your ticket at the café counter downstairs, then head up the external staircase to go inside. Until 14:30, your entry is self-guided—you’ll visit on your own and learn from the docents in various rooms. Each day at 15:00, you can join a complete guided tour of the complex (no extra charge; explained on sign at entrance).

Each of the three floors has been restored to reflect a different time period. You’ll begin high up on the third floor, a boarding house from the 1910s. Three men would have shared this small space, with its wrought-iron beds, newspaper clippings stuck to the walls, and laundry hanging near the coal-fired stove. The second floor is a drapers’ shop (selling cloth, clothes, and hats) from 1766, with a work counter and a space for entertaining customers in the front, and a small back office behind. The first floor is the most atmospheric, done up as the 1632 residence of an upper-middle-class trader of exotic goods. You’ll see the 17th-century penchant for dark, chunky oak furniture, then head through the kitchen (with the maid’s cot in the corner) to a back room that displays some of the spices, sugar, and other goods that were shipped far and wide. There’s also a small exhibit on the history of the building, as the New Town boomed and the Old Town declined in the mid-19th century. At one point Gladstone’s Land was home to nearly four dozen people. By the early 1930s, the authorities had declared it uninhabitable.

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This aristocrat’s house, built in 1622, is filled with well-described manuscripts and knickknacks of Scotland’s three greatest literary figures: Robert Burns, Robert Louis Stevenson, and Sir Walter Scott. You’ll wind up steep staircases through a maze of rooms as you peruse first editions and keepsakes of these celebrated writers (there’s even a lock of Scott’s hair).

Makars’ Court, outside the museum, is paved with flagstones inscribed with quotes from Scottish writers from the 14th century until the present. (“Makar,” the Scots’ word for a courtly Scottish poet, is now applied to all writers of note.)

Cost and Hours: Free, daily 10:00-17:00, +44 131 529 4901, edinburghmuseums.org.uk.

Just a half-block off the Royal Mile, the National Library’s Treasures room hosts thought-provoking rotating exhibits about the Scottish literary tradition. It’s worth the detour for book lovers, though if you want to nose around the reading rooms upstairs, you’ll need to ask the welcome desk for a day pass.

Cost and Hours: Free, Mon-Thu 10:00-19:00, Fri-Sat until 17:00, closed Sun; shop and café, near George IV Bridge at 92 Cowgate, +44 131 623 3700, nls.uk.

Visiting the Library: To the right of the main entrance, the small Treasures collection is lovingly displayed and well described in three languages: English, Gaelic, and Scots. While displays rotate in and out, the library’s treasures include the Iona Psalter (a precious ecclesiastical book from around 1180-1220); Rabbie Burns’ handwritten lyrics to his love song, “Ae Fond Kiss” (1791); and a 15th-century Gaelic manuscript about folk remedies. You may also see maps and contemporary accounts of the Jacobite Rising and battle at Culloden; tales and watercolors from Isobel Wylie Hutchison’s journeys to Greenland, arctic Canada, and Alaska in the 1920s and ’30s; correspondence between Scottish composer George Thomson and Beethoven; elegantly bound books showing off the “wheel” and “herringbone” binding methods from 17th-century printers; and a Gutenberg Bible. A nearby room also hosts temporary exhibits.

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This is Scotland’s most important church, founded in 1124. Its ornate spire—the Scottish crown steeple from 1495—is a proud part of Edinburgh’s skyline. The fascinating interior contains nearly 200 memorials honoring distinguished Scots through the ages.

Cost and Hours: Free; Mon-Fri 10:00-18:00, Sat 9:00-17:00, Sun 13:00-17:00; 45-minute guided tours Mon-Fri at 10:30 and 14:30, Sat 10:30 only (donation requested, book online), downloadable audioguide-£5.50; +44 131 226 0677, stgilescathedral.org.uk.

Concerts: St. Giles’ busy concert schedule includes organ recitals (some free) and visiting choirs (schedule posted on-site and online—or look for the What’s On at St. Giles pamphlet outside the gift shop or near the exit).

Self-Guided Tour: Today’s facade is 19th-century Neo-Gothic, but most of what you’ll see inside is from the 14th and 15th centuries. Engage the cathedral guides in conversation; you’ll be glad you did.

As you enter, begin by looping around the right side of the cathedral. Partway along this wall, above an alcove just before the organ, look for the dramatic 1 stained-glass window showing the commotion that surrounded the great reformer John Knox (1514-1572) when he preached. The bearded, fiery-eyed Knox had a huge impact on this community.

Knox, the founder of austere Scottish Presbyterianism, first preached here in 1559. His insistence that every person should be able to personally read the word of God gave Scotland an educational system 300 years ahead of the rest of Europe. Thanks partly to Knox, it was Scottish minds that led the way in math, science, medicine, and engineering. Voltaire called Scotland “the intellectual capital of Europe.”

Knox preached Calvinism. Consider that the Dutch and the Scots both embraced this creed of hard work, frugality, and strict ethics. This helps explain why the Scots are so different from the English (and why the Dutch and the Scots—both famous for their thriftiness and industriousness—are so much alike).

Looking at this window, notice how there were no pews back then. The church was so packed, people even looked through clear windows from across the street. With his hand on the holy book, Knox seems to conduct divine electricity to the Scottish faithful.

Next up, take in the sheer might of the giant Austrian-built 2 organ (1992), one of Europe’s finest.

Just past the organ, look for a glass case in a stand that holds a replica of the 3 National Covenant. The original was signed in blood in 1638 by Scottish heroes who refused to compromise their religion for the English king’s. Most who signed were martyred (their monument is nearby, at Grassmarket). You can see the original National Covenant in the Museum of Edinburgh.

Head toward the east (back) end of the church and turn right to find the Neo-Gothic 4 Thistle Chapel. The interior is filled with intricate wood carving. Built in two years (1910-1911) entirely with Scottish materials and labor, this is the private chapel of the Order of the Thistle, the only Scottish chivalric order and second only to England’s Order of the Garter. The reigning British monarch recognizes Scotland’s leading citizens by bestowing an order appointment upon them. Roughly twice a year, the chapel is the setting for the Thistle service, when new members are installed with pomp and ceremony. The sovereign presides over the ritual from a fancy stall, marked by the Scottish coat of arms—a heraldic zoo of symbolism. Look for the often-colorful wooden carvings of new members’ heraldic symbols—they sit atop the pointed stalls, which are sometimes described as “steepled canopies” because of their resemblance to church steeples and spires. Are there bagpipes in heaven? Find the tooting stone angel at the top of a window to the left of the chapel’s altar, the wooden one to the right of the doorway you came in, and a third straight ahead from the entrance, tucked away in the righthand corner above. Nearby volunteers are happy to help you locate them.

Now head to the center of the nave and take it all in. Slowly walk up to the altar in the very middle of the building, surrounded by 5 four massive central pillars—the oldest part of the church. These are Norman and date from the 12th century. They supported a mostly wooden superstructure that was lost when an invading English force burned it in 1385. The Scots rebuilt it bigger and better than ever, and in 1495 its famous crown spire was completed.

During the Reformation—when Knox preached here (1559-1572)—the place was simplified and whitewashed. Before this, when the emphasis was on holy services provided by priests, there were lots of little niches. With the new focus on sermons rather than rituals, the grand pulpit took center stage.

Knox preached against anything that separated you from God, including stained glass (considered the poor man’s Bible, as illiterate Christians could learn from its pictures). Knox had the church’s fancy medieval glass windows replaced with clear glass, but 19th-century Victorians took them out and installed the brilliantly colored ones you see today.

Continue past the altar to the other side of the church. Along this north wall, look for the 6 John Knox statue (standing like a six-foot-tall bronze chess piece). Get up close. Look into his eyes and think of the Reformation struggles of the 16th century.

Past Knox, the wall is lined with 7 war memorials, recalling those lost in battle. The second stained-glass window you’ll see features saints who may be less familiar to you, but who are near and dear to the Scots. If you’re traveling around Scotland, remember these names—you’ll see them everywhere: Columba, Andrew, Cuthbert, Margaret, Giles, and King David I.

Before leaving, head back into the nave and look above the entrance toward the modern stained-glass 8 Robert Burns window, which celebrates Scotland’s favorite poet. It was created in 1985 by the Icelandic artist Leifur Breiðfjörð. The green of the lower level symbolizes the natural world—God’s creation. The middle zone with the circle shows the brotherhood of man—Burns was a great internationalist. The top is a rosy red sunburst of creativity, reminding Scots of Burns’ famous line, “My love is like a red, red rose”—part of a song close to every Scottish heart.

Finally, to the right of the Burns window is a fine 9 Pre-Raphaelite window. Like most in the church, it’s a memorial to an important patron (in this case, John Marshall, a judge).

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For an unusual peek at Edinburgh’s gritty, plague-ridden past, join a costumed performer on an entertaining hour-long trip through an excavated underground street and buildings on the northern slope of the Royal Mile. Tours include a crowd-pleasing story or two but focus on authentic and historical insight into a part of town entombed by later construction.

Cost and Hours: £24, book at least one day in advance during peak season; tours leave every 15-30 minutes; Mon-Fri 9:30-18:00, Sat-Sun until 19:00 (these are last tour times), hours vary by season; across from St. Giles at 2 Warriston’s Close—but enter through door on High Street, +44 131 225 0672, realmarykingsclose.com.

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This fine medieval house dates back to 1470 and offers a well-explained look at the life of the great 16th-century Protestant reformer. Although most contend John Knox never actually lived here, preservationists called it “Knox’s house” to save it from the wrecking ball in the 1840s. Regardless, the place has good information on Knox and his intellectual sparring partner, Mary, Queen of Scots. Imagine the Protestant firebrand Knox and the devout Catholic Mary sitting face-to-face, discussing the most intimate matters of their spiritual lives as they decided the course of Scotland’s religious future. (This meeting actually took place at the Palace of Holyroodhouse, but in the Oak Room here you can listen to a recording of actors having just such a conversation.) The sparsely furnished house contains some period furniture, medieval books and Bibles, an early 1600s hand-painted ceiling, information on the house and its resident John Mossman (goldsmith to Mary, Queen of Scots), and exhibits on printing—an essential tool for early reformers.

Cost and Hours: £7, daily 10:00-18:00, last entry 45 minutes before closing, free downloadable audioguide, 43 High Street, +44 131 556 9579, scottishstorytellingcentre.com.

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This engaging exhibit, which occupies the Canongate Tolbooth (built in 1591), traces the working and social lives of ordinary people through the 18th, 19th, and 20th centuries (including 1970s punks and 1980s mallrats). You’ll see tools, products, objects related to important Edinburgh trades (printing, brewing), and a wartime kitchen.

Cost and Hours: Free, daily 10:00-17:00, 163 Canongate, +44 131 529 4057, edinburghmuseums.org.uk.

Another old house full of old stuff, this one deserves a stop for a look at its early Edinburgh history (and its handy ground-floor WC). Be sure to see the original copy of the National Covenant—written in 1638 on animal skin. Scottish leaders signed this, refusing to adopt the English king’s religion—and were killed for it. Exploring the rest of the collection, keep an eye out for locally made glass and ceramics, Robert Louis Stevenson’s antique golf ball, James Craig’s architectural plans for the Georgian New Town, models of the 16th-century Old Town and Canongate, and even a segment of a wooden water pipe from the 18th century. On the top floor there’s a sprawling exhibit on Edinburgh-born Field Marshal Sir David Haig, who led the British Western Front efforts in World War I and later became Earl Haig.

Cost and Hours: Free, daily 10:00-17:00, 142 Canongate, +44 131 529 4143, edinburghmuseums.org.uk.

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Scotland’s parliament originated in 1293 and was dissolved when Scotland united with England in 1707. But in 1997 the Scottish electorate voted to reinstate “a Scottish parliament guided by justice, wisdom, integrity, and compassion.” Formally reconvened by Queen Elizabeth in 1999 (note that, while she was “II” in England, she was the first “QE” for the people of Scotland), the Scottish parliament now enjoys self-rule in many areas (except for matters of defense, foreign policy, immigration, and taxation). The current government is pushing for even more independence.

The innovative building, opened in 2004, brought together all the functions of the fledgling parliament in one complex. It’s a people-oriented structure conceived by Catalan architect Enric Miralles. Signs are written in both English and Gaelic (the Scots’ Celtic tongue).

For a peek at the building and a lesson in how the Scottish parliament works, drop in, pass through security, and find the visitors’ desk. You’re welcome in the public parts of the building, including a small ground-floor exhibit on the parliament’s history and function and, up the stairs, a viewing gallery overlooking the impressive Debating Chambers.

Cost and Hours: Free; Mon-Sat 10:00-17:00, Tue-Thu 9:00-18:30 when parliament is in session (Sept-June), closed Sun year-round. For a complete list of recess dates or to book tickets for debates, check the website or call the visitor services line (+44 131 348 5000, parliament.scot). There’s a £ café near the entrance after you pass security.

Tours: Proud locals offer worthwhile free 45-minute tours covering history, architecture, parliamentary processes, and other topics. Tours generally run throughout the day Mon and Fri-Sat in session (Sept-June) and Mon-Sat in recess (July-Aug). While you can try dropping in, these tours can book up—it’s best to reserve ahead online or over the phone.

Seeing Parliament in Session: The public can witness the Scottish parliament’s hugely popular debates (usually Tue-Thu 14:00-18:00, but hours can vary). Book ahead online no more than seven days in advance, over the phone, or at the info desk. You’re not required to stay the whole session.

You can also watch parliamentary committees in session (usually Tue-Thu mornings, book ahead like you would for debates). Topics are published the Friday before; on the website, click “Chambers and Committees/What’s On” for details.

On Thursdays from 12:00 to 12:45 the First Minister is in the hot seat and must field questions from members across all parties. You can reserve a week in advance for this popular session (spots go quickly—book online or call at 9:00 sharp on Thu for the following week). If you’re unable to get tickets, show up at 10:00—they sometimes have standby tickets.

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Built on the site of the abbey/monastery founded in 1128 by King David I, this palace was the true home, birthplace, and coronation spot of Scotland’s Stuart monarchs in their heyday (James IV; Mary, Queen of Scots; and Charles I). It’s particularly memorable as the site of some dramatic moments from the short reign of Mary, Queen of Scots—including the murder of her personal secretary, David Rizzio, by agents of her jealous husband. Until her death, it was one of Queen Elizabeth II’s official residences. Today Holyrood is open to the public outside of royal visits. Touring the interior offers a more polished contrast to Edinburgh Castle and is particularly worth considering if you don’t plan to go to Balmoral. The one-way multimedia guided route leads you through the fine apartments and tells some of the notable stories that played out here.

Cost: £25 includes quality one-hour multimedia guide, book online to skip the line; combo-ticket with the King’s Gallery sometimes available.

Hours: Daily 9:30-18:00, shorter hours and closed Tue-Wed Sept-March; last entry 1.5 hours before closing, +44 131 556 5100, rct.uk. It’s still a working palace, so it’s closed when VIPs are in residence.

Eating: The £ café on the palace grounds, to the right of the palace entrance, serves sandwiches, salads, and savory pies, as well as an inviting ££££ afternoon tea.

Visiting the Palace: The building, rich in history and decor, is filled with elegantly furnished Victorian rooms and a few darker, older rooms with glass cases of historic bits and Scottish pieces that locals find fascinating. The tour route leads you into the grassy inner courtyard, then up to the royal apartments: dining rooms, Downton Abbey-style drawing rooms, and royal bedchambers. Along the way, you’ll learn the story behind the 96 portraits of Scottish leaders (some real, others imaginary) that line the Great Gallery, why the king never slept in his official “state bed,” and why the exiled Comte d’Artois took refuge in the palace. Then you’ll twist up a tight spiral staircase to the private chambers of Mary, Queen of Scots, where conspirators stormed in and stabbed her secretary 56 times. If the royals are your thing, give yourself time to look around and listen to the supplemental stories in the audioguide, such as an interview with one of the palace chefs on planning an official dinner, or one with Prince Edward on how this grand building is meant to feel like a home.

You’ll exit the palace into the evocative ruined abbey (destroyed by the English during the time of Mary, Queen of Scots, in the 16th century) and the palace gardens. Some 8,000 guests—including many honored ladies sporting fancy hats—gather here every July when the royal family hosts a magnificent tea party. (They get help pouring.)

Nearby: Hikers, note that the wonderful trail up Arthur’s Seat starts just across the street from the gardens (see “Experiences in Edinburgh,” later, for details).

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Over more than five centuries, the royal family has collected a wealth of art treasures. While most of the collection is kept in the royals’ many private palaces, they share an impressive sampling of it in this small museum, with themed exhibits changing about every six months. Though the gallery occupies just a few rooms, its displays can be exquisite.

Cost and Hours: £11 combo-ticket with Palace of Holyroodhouse sometimes available; open daily 9:30-18:00, closed Tue-Wed and shorter hours Sept-March, last entry one hour before closing; excellent free multimedia guide, rct.uk.

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This gigantic museum has amassed more historic artifacts than every other place I’ve seen in Scotland combined. It’s all wonderfully displayed, with fine descriptions offering an insightful and substantial hike through the history of Scotland. The museum can be overwhelming, so pick up the map when you enter to sort through your options. There are exhibits about natural science (T. Rex skeletons and other animals), technology, fashion, art, design, world cultures, and more.

My tour is devoted to the Scotland galleries, which lead you through Roman and Viking times, Edinburgh’s witch-burning craze and clan massacres, the struggle for Scottish independence, the Industrial Revolution, and right up to Scotland in the 21st century.

Cost and Hours: Free, daily 10:00-17:00; two long blocks south of St. Giles’ Cathedral and the Royal Mile, on Chambers Street off George IV Bridge, nms.ac.uk.

Tours: You can scan a QR code to get brief audio tracks for 15 stops throughout the museum (also available on the Smartify app).

Eating: A ££ restaurant is on the ground floor right next to the entrance door, and a £ café with coffee, tea, cakes, and snacks is on the level 3 balcony overlooking the Grand Gallery.

Self-Guided Tour: From the subterranean entrance zone, head upstairs to get oriented on level 1 in the impressive glass-roofed Grand Gallery.

• To reach the Scottish history wing, stand with the 30-foot-high millennium clock in front of you and the big windows and busy street at your back. Turn right, past the statue of Scottish inventor James Watt, and exit the Grand Gallery at the far-right end.

On the way, you’ll pass through the...

Science and Technology Wing: We’re just zipping through, but with more time you might circle back to this hall, with hands-on demonstrations of scientific principles, and exhibits about inventions that changed human history. While walking through, on your left, look for a slowly revolving glass case containing Dolly the sheep—the world’s first cloned mammal—born in Edinburgh and now preserved here.

• Continue into Hawthornden Court, passing a bank of elevators, and find the door marked Kingdom of the Scots on the left.

Kingdom of the Scots (c. 900s-late 1600s): From its very start, Scotland was determined to be free. You’re greeted with proud quotes from what’s been called the Scottish Declaration of Independence—the Declaration of Arbroath, a defiant letter written to the pope in 1320. As early as the ninth century, Scotland’s patron saint, Andrew (see the small wooden statue in the next room), had—according to legend—miraculously intervened to help the Picts and Scots of Scotland remain free by defeating the Angles of England. Andrew’s X-shaped cross still decorates the Scottish flag today.

As you enter the first room on your right, you’ll see a 15th-century iron yett (castle gate) from northern Scotland, followed by imposing swords and other objects related to Scotland’s most famous patriots, William Wallace and Robert the Bruce. Bruce’s descendants, the Stuarts, went on to rule Scotland for the next 300 years. Eventually, James VI of Scotland (see his baby cradle) came to rule England as well (as King James I of England). In the middle of the room, a massive banner of the royal arms of Britain is adorned with the motto of James VI: “Blessed are the peacemakers.”

In the next room, a guillotine recalls the harsh justice meted out to criminals, witches, and “Covenanters” (17th-century political activists who opposed interference of the Stuart kings in affairs of the Presbyterian Church of Scotland). Out in the larger hall, check out the tomb (a copy) of Mary, Queen of Scots, the 16th-century Stuart monarch who opposed the Presbyterian Church of Scotland. Educated and raised in Renaissance France, Mary brought refinement to the Scottish throne. After she was imprisoned and then executed by Elizabeth I of England in 1587, her supporters rallied each other by invoking her memory; see the pendants and coins with her portrait in the display case next to tomb.

• Backtrack to Hawthornden Court and head up to level 3.

Scotland Transformed (1700s): You’ll see artifacts from the time of Bonnie Prince Charlie and the Jacobite rebellions as well as items related to the Treaty of Union document, signed in 1707 by the Scottish parliament. This act voluntarily united Scotland with England under the single parliament of the United Kingdom. For some Scots, this move was an inevitable step in connecting to the wider world, but for others it symbolized the end of Scotland’s existence.

Union with England brought stability and investment to Scotland. In this same era, the advances of the Industrial Revolution were making a big impact on Scottish life. Mechanized textile looms (on display) replaced hand craftsmanship. The huge Newcomen steam-engine water pump helped the mining industry to develop sites with tricky drainage. Nearby is a model of a coal mine (or “colliery”); coal-rich Scotland exploited this natural resource to fuel its textile factories.

How the parsimonious Scots financed these new, large-scale enterprises is explained in an exhibit on the Bank of Scotland. Powered by the Scottish work ethic and the new opportunities that came with the British Empire’s colonialism and the Industrial Revolution, the country came into relative prosperity. Education and medicine thrived. With the dawn of the modern age came leisure time, the concept of “healthful sports,” and golf—a popular Scottish pastime.

• Leave this hall the way you came in, and journey up to level 5.

Industry and Empire (1800s): Turn right and do a counterclockwise spin around this floor to survey Scottish life in the 19th century. Industry had transformed the country. Highland farmers left (or were forced off) their land to find work in Lowland factories and foundries. Modern inventions—the phonograph, the steam-powered train, the kitchen range—revolutionized everyday life. In Glasgow near the turn of the century, architect Charles Rennie Mackintosh helped to define Scottish Art Nouveau. Scotland was at the forefront of literature (Robert Burns, Sir Walter Scott, Robert Louis Stevenson), science (Lord Kelvin, James Watt, Alexander Graham Bell...he was born here, anyway!), world exploration (John Kirk in Africa, Sir Alexander Mackenzie in Canada), and whisky production.

• Climb the stairs to level 6.

Scotland: A Changing Nation (1900s-present): Turn left and do a clockwise spin through this floor to bring the story to the present day. The two world wars decimated the population of this already wee nation. In addition, hundreds of thousands emigrated, especially to Canada (where one in eight Canadians has Scottish origins). Other exhibits include shipbuilding and the fishing industry; Scots in the world of entertainment (such as actor Ewan McGregor and actor-comedian Billy Connolly); “New Scots,” non-native-born Scottish citizens who are adding their story to the tapestry of this great nation; a look at devolution from the United Kingdom (1999 opening of Scotland’s own parliament, the landmark 2014 referendum on Scottish independence, and Brexit—in which 51.9 percent of the greater UK voted to leave the European Union, but only 38 percent of Scots did); and a sports Hall of Fame (from hardy 18th-century walker Captain Robert Barclay Allardice to auto racer Jackie Stewart to long-distance runner Liz McColgan).

• Finish your visit on level 7, the rooftop. Get there by elevator, or take the outdoor staircase (to the left of the stairs from the lower floors).

Garden Terrace: The well-described roof garden features grasses and heathers from every corner of Scotland and spectacular views of the city. Note it closes 15 minutes before the rest of the museum.

This famous statue of Edinburgh’s favorite dog is across the street from the National Museum of Scotland. Every business nearby, it seems, is named for this Victorian Skye terrier, who is reputed to have slept upon his master’s grave in Greyfriars Cemetery for 14 years. The story was immortalized in a 1960s Disney flick, but recent research suggests that 19th-century businessmen bribed a stray to hang out in the cemetery to attract sightseers. If it was a ruse, it still works. You might see tourists rubbing the statue’s nose “for luck,” but all the wear means that Bronze Bobby has had to have periodic cosmetic work done. So don’t rub his nose—locals will assure you it’s not really a tradition.

Just behind Greyfriars Bobby is the entrance to his namesake cemetery (open until late). Stepping through the gate, you’ll see the pink marble grave of Bobby himself. Rather than flowers, well-wishers bring sticks to remember Bobby. Find a twig to add to the pile, and say a word of thanks to a loyal pet or two from your own life.

The cemetery just feels made for ghost walks. It’s said that the tombs with iron cages over them were designed so thieves couldn’t break into the grave and steal bodies to sell to the medical school across the street (which always needed cadavers).

Once Edinburgh’s site for hangings (residents rented out their windows—above the pub wryly named The Last Drop—for the view), today Grassmarket is a people-friendly piazza. Stretching below the southeast side of the castle, between King’s Stables Road and West Bow (which turns into Victoria Street), Grassmarket was originally the city’s garage, a depot for horses and cows (hence the name). It’s rowdy here at night—a popular place for “hen dos” and “stag dos” (bachelorette and bachelor parties). In the early evening, the Literary Pub Tour departs from here (see “Nightlife in Edinburgh,” later). Some good shopping streets branch off from Grassmarket; see “Shopping in Edinburgh,” later, for details.

At the top of Grassmarket is a round monument to the Covenanters. These strict 17th-century Scottish Protestants were killed for refusing to accept the king’s Episcopalian prayer book. To this day, Scots celebrate their national church’s emphatically democratic government. Rather than big-shot bishops (as in the Anglican or Roman Catholic Church), they have a low-key “moderator” who’s elected each year.

This delightful museum has Scotland’s best collection of paintings—both Scottish and European. In a short visit, you can get an introduction to talented lesser-known Scottish artists who capture their nation’s outsize spirit on canvas, and admire well-described works by Old Masters (Raphael, Rembrandt, Rubens) and Impressionists (Monet, Degas, Gauguin). Although there are no iconic masterpieces, it’s a surprisingly enjoyable collection that’s truly world class.

Cost and Hours: Free, daily 10:00-17:00, The Mound (between Princes and Market streets), +44 131 624 6200, nationalgalleries.org.

Eating: Just inside the Gardens entrance you’ll find the inviting £££ Scottish Café & Restaurant, offering breakfast, lunch, and afternoon tea. There’s a smaller café just inside the upper entrance on The Mound.

Next Door: The Royal Scottish Academy hosts temporary art exhibits of more contemporary works. Although usually skippable, it’s worth asking at the desk to learn what’s on. The academy is connected to the Scottish National Gallery through a corridor near the Gardens entrance.

Scottish Art (1800-1945)

One of the joys of this museum is the opportunity to encounter talented Scottish artists who capture their national spirit, but who you’ll rarely hear about outside of their home country. Some galleries are organized by subject matter (such as landscapes) or artistic movement (the Celtic Revival, the Glasgow Boys), while others are dedicated to a single prominent artist. A few works by Scottish artists are interspersed among the European masters upstairs, but the majority of the Scottish collection is here.

• The first room you’ll enter is...

A Point in Time, 1920s (Room 1): This gallery focuses on developments in Scottish art post-World War I, including the growing prominence of women. One significant figure was Anne Redpath (1895-1965), the first female painter fully admitted to the Royal Scottish Academy (in 1947), best known for her vivid still lifes of household objects. Here, to the right of the entrance, check out Borders Landscape and Red Slippers—two of her most famous works from around 1942, painted on opposite sides of the same piece of plywood. Why she did this remains something of a mystery, but it makes for a novel viewing experience, showing two sides (both literally and figuratively) of the artist.

• Head up the ramp and curve left, through Room 2, then right, into Room 3.

Picturing Landscapes/Framing the City, 1730-1930 (Room 3): This corridor space features works by, among others, William McTaggart and Alexander Nasmyth. A painter and engineer (he designed several bridges), Nasmyth (1758-1840) is known mostly for his landscapes. Look for Princes Street with the Commencement of the Building of the Royal Institution and Edinburgh from Calton Hill, and companion pieces from 1825 that offer a fascinating contrast to the city right outside the gallery doors.

• At the end of the Room 3 corridor, a ramp splits Rooms 4 through 7. Stay on the right to go through half of each room, then backtrack and head down the ramp to look at the other side, along the wall on the left.

Symbolism and the Celtic Revival, 1885-1918 (Room 4): Search out a couple of artists here. John Duncan (1866-1945) was a Symbolist who depicted otherworldly scenes in pursuit of a greater truth. His intoxicating Saint Bride (1913) presents the story of the Celtic fifth-century saint. According to legend, Saint Bride was miraculously transported from the Hebrides to witness the birth of Jesus. This lyrical painting captures the fantastical scene vividly: Examine the fine details on the angels’ garments and wings. Find the seal tagging along through the churning sea under a dramatic Hebridean sky. And notice how the wings and halo break the edges of the frame-within-a-frame, creating the illusion of three dimensions.

Also in this room are several works by Phoebe Anna Traquair (1852-1936), a member of the Arts and Crafts movement. One of her most famous works is the four-part embroidered panel The Progress of a Soul (1895-1902): The first part, titled Entrance, depicts a young man blissfully engaged in the natural world around him, as yet untouched by the realities of life. The next two, The Stress and Despair, show a more serious, perhaps changed man, and the final, The Victory, shows the man after death, in the peace of eternal life.

Glasgow Boys, 1880-1900 (Room 5): Among the “Glasgow Boys” who traveled to France during this period to learn about Impressionism was James Guthrie (1859-1930), whose Oban (1893) depicts people in what was then the busy city of Oban enjoying the harborside esplanade, or just gazing pensively out to sea. While not labeled as such, this room is also home to a few works by the Glasgow Girls, a term applied to many of the women artists who were contemporaries of the Glasgow Boys.

• Once you’ve cycled through both sides of Rooms 4-7, continue down the ramp to...

Romance and Reality, 1800-1895 (Room 9): The last paintings we’ll look at on this floor, displayed prominently near the stairs to the other galleries, are by Sir Edwin Landseer (1802-1873). The aptly named Landseer was known for his Romantic depictions of the rugged Highlands. His finest work (and one of this collection’s prized pieces) is The Monarch of the Glen (c. 1851). A 12-point stag looks nobly, even heroically, into the distance, in front of a dramatic, craggy backdrop—capturing the wild beauty of Scottish nature.

• To see a few more Scottish works, turn right from the Landseer paintings and head up the stairs (or take the elevator) to the remaining rooms, labeled Scottish and International Art, 1300-1900. From Room 10 continue straight to Room 11 and hang a left, into Room 20.

Scottish Art, 1670-1860 (Room 20): Sir Henry Raeburn (1756-1823) was a portraitist who chronicled the next generation, from Sir Walter Scott to the proud, kilt-wearing Alastair MacDonell. His most beloved work, commonly known as The Skating Minister, captures Reverend Robert Walker, minister of the Canongate Church, in a moment of ice-skating reverie as he glides gracefully across the surface of Duddingston Loch.

Also in this room are two well-known works by Sir David Wilkie (1785-1841). Wilkie’s forte was small-scale slices of everyday life (called “genre scenes”). The Letter of Introduction (1813) captures Wilkie’s own experience of trying to impress skeptical art patrons in London; even the dog is sniffing the Scotsman out. Distraining for Rent (1815) shows the plight of a poor farmer about to lose his farm—a common occurrence during 19th-century industrialization.

Also in this room are portraits by Allan Ramsay (1713-1784). The son of the well-known poet of the same name, he captured the likenesses of curly-wigged men of the Enlightenment era (the philosopher David Hume, King George III) as well his two wives. Ramsay’s portrait of the duke of Argyll—founder of the Royal Bank of Scotland—appears on the front of notes printed by that bank.

European Masters

Two floors above the Scottish Art wing, you’ll find the National Gallery’s European collection. Look for highlights that include Gothic and Renaissance art, Northern (Dutch) art, and Impressionism and Post-Impressionism.

Botticelli, The Virgin Adoring the Sleeping Christ Child, c. 1485: Mary looks down at her baby, peacefully sleeping in a flower-filled garden. It’s easy to appreciate Botticelli’s masterful style: the precisely drawn outlines, the Virgin’s pristine skin, the translucent glow. Botticelli creates a serene world in which no shadows are cast. The scene is painted on canvas—unusual at a time when wood panels were the norm. For the Virgin’s deep blue cloak, Botticelli used a pigment made from lapis lazuli (a very pricey semiprecious stone), and her hem is decorated with gold leaf.

Renaissance-era art lovers would instantly catch the symbolism. Mary wears a wispy halo and blue cloak that recalls the sky blue of heaven. The roses without thorns and enclosed garden are both symbols of virginity, while the violet flowers (at bottom) represent humility. Darker symbolism hints at what’s to come. The strawberries (lower right) signify Christ’s blood, soon to be shed, while the roses—though thornless now—will become the crown of thorns.

Raphael, The Holy Family with a Palm Tree, 1506-1507: Mary, Joseph, and the Christ Child fit snugly within a round frame (a tondo), their pose symbolizing geometric perfection and the perfect family unit. Joseph kneels to offer Jesus flowers. Mary curves toward him. Baby Jesus dangles in between, linking the family together. Raphael also connects the figures through their focused eye contact. Graceful and harmonious, the canvas characterizes the High Renaissance ideal of perfection.

Van der Goes, The Trinity Altarpiece, c. 1473-1479: These two double-sided panels likely were the wings of a triptych, flanking a central scene of the Virgin Mary that may have been destroyed by Protestant vandals during the Reformation. The altarpiece once stood in Edinburgh’s Chapel of the Trinity, which was leveled in 1848 to make room for Waverley Station. (The panels had left Scotland for England long before then, only to return as part of the royal collection at Holyroodhouse sometime in the late 19th century.)

In one panel is the Trinity: God the Father, in a rich red robe, cradles a spindly, just-crucified Christ, while the dove of the Holy Spirit hovers between them. (This is what would have been seen when the triptych was closed.) The flip side of the Christ panel depicts Scotland’s king and queen, who are best known to history as the parents of the boy kneeling alongside them. He grew up to become James IV, the king who made Edinburgh a cultural capital. On the other panel, the church’s director (the man who commissioned the painting from the well-known Flemish painter) kneels and looks on while an angel plays a hymn on the church organ. On the opposite side is Margaret of Denmark, Queen of Scots, being presented by a saint.

Rubens, Feast of Herod, c. 1635-1638: All eyes turn to watch the dramatic culmination of the story of John the Baptist. Salome (standing in center) presents John’s severed head on a platter to a horrified King Herod, who clutches the tablecloth and buries his hand in his beard to stifle a gag. Meanwhile, Herod’s wife—who cooked up the nasty plot—pokes spitefully at John’s head with a fork. A dog tugs at Herod’s foot like a nasty conscience. The canvas—big, colorful, full of motion and drama—is totally Baroque. Some have suggested that the features of Herod’s wife and Salome are those of Rubens’ wife and ex-wives, and the head Rubens himself.

Rembrandt, Self-Portrait: It’s 1655, and the middle-aged Rembrandt is on the brink of bankruptcy. Besides financial hardship and the auctioning-off of his personal belongings, he’s also facing social stigma and behind-his-back ridicule. Once Holland’s most renowned painter, he’s begun a slow decline into poverty and obscurity.

His face says it all. Holding a steady gaze, he stares with matter-of-fact acceptance, with his lips pursed. He’s dressed in dark clothes against a dark background, with the only spot of light shining on the worry lines of his forehead. Get close enough to the canvas to see the thick paste of paint he used for the wrinkles around his eyes—a study in aging.

Gainsborough, The Honourable Mrs. Graham, 1775-1777: The slender, elegant, lavishly dressed woman was the teenage bride of a wealthy Scottish landowner. She leans on a column, ostrich feather in hand, staring off to the side. (Thoughtfully? Determinedly? Haughtily?) Her faultless face and smooth neck stand out from the elaborately ruffled dress and background foliage. This 18th-century woman wears a silvery dress that echoes 17th-century style—Gainsborough’s way of showing how, though she was young, she was classy. Thomas (“Blue Boy”) Gainsborough—the product of a clothes-making father and a flower-painting mother—uses aspects of both in this lush portrait. The ruby brooch on her bodice marks the center of this harmonious composition.

Gauguin, Vision of the Sermon, 1888: Gauguin shows French peasant women imagining the miraculous event they’ve just heard preached about in church—when Jacob wrestles with an angel. The painting is a watershed in art history, as Gauguin throws out the rules of “realism” that had reigned since the Renaissance. The colors are surreal, there are no shadows, the figures are arranged almost randomly, and there’s no attempt to make the wrestlers appear distant. The diagonal tree branch is the only thing separating the everyday world from the miraculous.

Monet, Poplars on the Epte, 1891: This canvas comes from one of the artist’s famous “series” paintings. Monet set up several canvases in a floating studio near his home in Giverny. He’d start on one canvas in the morning (to catch the morning light), then move to the next as the light changed. This one captures a perfect summer day, showing both the poplars on the riverbank and their mirror image in the still water. The subject matter begins to dissolve into a pure pattern of color, anticipating abstract art.

Sargent, Lady Agnew of Lochnaw, 1892: This work launched the career of this American-born portrait artist. Lady Agnew—the young wife of a wealthy old Scotsman—lounges back languidly and gazes out self-assuredly. The Impressionistic smudges of paint on her dress and the chair contrast with her clear skin and luminous eyes. Her relaxed pose (one arm hanging down the side) contrasts with her intensity: head tilted slightly down while she gazes up, a corner of her mouth askew, and an eyebrow cocked seductively.

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Put a face on Scotland’s history by enjoying these portraits of famous Scots from the earliest times until today. With a Neo-Gothic facade, a grand entry hall highlighting Scottish history, and galleries showcasing the great Scots of each age, this impressive museum will fascinate anyone interested in Scottish culture. The gallery also hosts temporary exhibits showcasing the work of more contemporary Scots.

Cost and Hours: Free, daily 10:00-17:00, good cafeteria, 1 Queen Street, +44 131 624 6200, nationalgalleries.org.

Visiting the Gallery: While the entrance hall is stirring—with a well-lit statue of poet Rabbie Burns facing all who enter, its history frieze up above is better viewed from the first-floor balcony (described later).

The meat of the collection is on the top floor (level 2), where Scottish history is illustrated by portraits and vividly described by information plaques next to each painting. With the 20th and 21st centuries, the chronological story spills down a level into Rooms 2 and 3 on the first floor. The rest of the gallery is devoted to special (and often very interesting) exhibits.

• Start on the top floor, diving right into the thick of the struggle between Scotland and England over who should rule this land.

Reformation to Revolution (Room 6): The collection starts with a portrait of Mary, Queen of Scots (1542-1587), her cross and rosary prominent. This controversial ruler set off two centuries of strife. Mary was born with both Stuart blood (the ruling family of Scotland) and the Tudor blood of England’s monarchs (Queen Elizabeth I was her cousin). Catholic and French-educated, Mary felt alienated from her own increasingly Protestant homeland. Her tense conversations with the reformer John Knox must have been epic. Then came a series of scandals: She married unpopular Lord Darnley, then (possibly) cheated on him, causing Darnley to (possibly) murder her lover, causing Mary to (possibly) murder Darnley, then (possibly) run off with another man, and (possibly) plot against Queen Elizabeth.

Amid all that drama, Mary was forced by her own people to relinquish her throne to her infant son, James VI. Find his portraits as a child and as a grown-up. James grew up to rule Scotland, and when Queen Elizabeth (the “virgin queen”) died without an heir, he also became king of England (James I). But after a bitter civil war, James’ son, Charles I, was arrested and executed in 1649: Continuing into Room 7, see the large Execution of Charles I painting, his blood-dripping head displayed to the crowd. His son, Charles II, restored the Stuarts to power. He was then succeeded by his Catholic brother James VII of Scotland (II of England), who was sent into exile in France. There the Stuarts stewed, planning a return to power, waiting for someone to lead them in what would come to be known as the Jacobite rebellions.

The Jacobite Cause (a few rooms later, in Room 9): One of the biggest paintings in the room—straight ahead as you enter—is The Baptism of Prince Charles Edward Stuart. Born in 1720, this Stuart heir to the thrones of Great Britain and Ireland is better known to history as “Bonnie Prince Charlie.” (See his bonnie features in various portraits on the wall to the left, as a child, young man, and grown man.) Charismatic Charles convinced France to invade Scotland and put him back on the throne there. In 1745, he entered Edinburgh in triumph. But he was defeated at the tide-turning Battle of Culloden (1746). The Stuart cause died forever, and Bonnie Prince Charlie went into exile, eventually dying drunk and wasted in Rome, far from the land he nearly ruled.

• Pass through the blue Room 10, featuring the theme “Scots in Italy”—from the time when Scotland’s king-in-exile, James VII/II, lived in Rome. Then move into...

The Remaking of Scotland (Room 11): The faces portrayed here belonged to a new society whose hard work and public spirit achieved progress with a Scottish accent. Ideals of social equality and the Industrial Revolution transformed Scotland—to the left as you enter, you’ll see portraits of the great poet Robert Burns, and the man who perfected the steam engine, James Watt (on the wall to the left of Burns, upper portrait). But the era’s flip side included the human cost in slavery and warfare and the environmental cost of mining and burning coal.

Heroes and Heroines (Room 12): The first part of this room celebrates female Scots from the early 20th century, including suffragette Margaret Liddell Linck, children’s author and antiwar poet Lady Margaret Sackville, and opera star turned wartime nurse Mary Garden. The other half focuses more on male heroes: Glasgow Art Nouveau pioneer Charles Rennie Mackintosh, WWI Field Marshal Sir Earl Haig, Sir James Matthew Barrie (who created Peter Pan), and Andrew Carnegie. There’s also a portrait of a young Winston Churchill—who, despite not being Scottish, has managed to crash this gathering.

• Finish up on this level. Room 14 features Victorian Scots, including scientist Mary Somerville and author Robert Louis Stevenson. Then head back down to the first floor for a good look at the...

Central Atrium (level 1): Great Scots! The atrium is decorated in a parade of late 19th-century Romantic Historicism. The frieze (below the banister, working counterclockwise with your back to the windows, facing the center opposite) is a visual encyclopedia, from an ax-wielding Stone Age man and a druid; to the early legendary monarchs (Macbeth); to warriors William Wallace and Robert the Bruce; to many kings (James I, II, III, and so on); to great thinkers, inventors, and artists; to the three greatest Scottish writers; and culminating with the historian Thomas Carlyle, who was the driving spirit (powered by the fortune of a local newspaper baron) behind creating this portrait gallery.

Around this mezzanine are large-scale murals depicting great events in Scottish history, including St. Columba converting the Picts (sixth century), the landing of St. Margaret at Queensferry in 1068, the Battle of Stirling Bridge in 1297, the Battle of Bannockburn in 1314, and the marriage procession of James IV and Margaret Tudor through the streets of Edinburgh in 1503.

• Also on this floor you’ll find the...

Modern Portrait Gallery (Rooms 2-3): This space is dedicated to rotating art and photographs highlighting Scots who’ve made a more recent impact, such as actors Tilda Swinton and Sean Connery, and Scottish composer Thea Musgrave. Look for the Three Oncologists, a ghostly painting depicting the anxiety and terror of cancer and the dedication of those working so hard to conquer it. Opposite that is a more recent work, Theatre, portraying a maternity ward during the second year of the Covid-19 pandemic.

• And finally, also on the first floor—across the atrium—is the...

Library: Step into this elegant old space, with two tiers of neatly stacked books and some interesting sculpture.

This refurbished Neoclassical house, set on Charlotte Square, is a trip back to 1796. It recounts the era when a newly gentrified and well-educated Edinburgh was nicknamed the “Athens of the North.” A walk down George Street after your visit here can be fun for the imagination.

Cost and Hours: £13.50; daily 10:00-17:00, Nov until 16:00, possibly closed Dec-Feb, last entry one hour before closing; free guided tour daily at 10:00, 7 Charlotte Square, +44 131 225 2160, nts.org.uk.

Visiting the House: Begin on the second floor, where you’ll watch a fascinating 15-minute video dramatizing the upstairs/downstairs lifestyles of the aristocrats and servants who lived here. Try on some Georgian outfits, then head downstairs to tour period rooms and even peek into the fully stocked medicine cabinet. Notice how the furniture in the drawing room is pushed against the wall, as if in preparation for a dance (you’re welcome to try your hand at the 1802 square piano). Info sheets are available in each room, along with volunteer guides who share stories and trivia, such as why there’s a chamber pot in the dining room. “Below stairs,” find the servants’ bells for each room, the heavy cast-iron kettle (anyone for a cuppa?), and the wine cellar, whitewashed to help the butler see in the dark.

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This much-revered vessel, which transported Britain’s royal family for more than 40 years on 900 voyages (an average of once around the world per year) before being retired in 1997, was brought to Edinburgh’s port a year later in hopes of bringing some life back to Leith. Today it’s open to the curious public, who have access to its many decks—from engine rooms to drawing rooms—and offers a fascinating time-warp look into the late 20th-century lifestyles of the rich and royal. Figure on spending about 1.5 hours seeing the ship and visitors center.

Cost and Hours: £20, book online in summer (especially August) to guarantee your preferred entry time; daily 9:30-18:00, shorter hours off-season, last entry two hours before closing; free audioguide; tearoom; at the Ocean Terminal Shopping Mall on Ocean Drive in Leith; +44 131 555 5566, royalyachtbritannia.co.uk.

Visiting the Ship: To reach the yacht’s ticket office and visitors center, enter the Ocean Terminal shopping center near the bus or tram stop and follow signs.

Inside, first explore the visitors center, which is designed to resemble the interior of the ship (note the floor “decking”) and filled with engrossing royal-family-afloat history. You’ll pass an 11-foot Lego model of the Britannia and lots of family photos that evoke the fine times the Windsors enjoyed on the ship, as well as some nautical equipment, uniforms, the wheelhouse, and a wall-size digital map showing all the countries the vessel visited. Then, armed with your audioguide, you’re welcomed aboard.

The Brittania was the last in a line of royal yachts that stretches back to 1660. With all its royal functions, the ship required a crew of more than 200. Begin in the captain’s bridge, which feels like it’s been preserved from the day it was launched in 1953. Then head down a deck to see the officers’ quarters, then the garage, where a Rolls Royce or a Land Rover (like the one here) was hoisted aboard to use in places where the local transportation wasn’t up to royal standards. The Veranda Deck at the back of the ship was the favorite place for outdoor entertainment. Ronald Reagan, Boris Yeltsin, Bill Clinton, and Nelson Mandela all sipped champagne here. The Sun Lounge, just off the back Veranda Deck, was the queen’s favorite, with Burmese teak and the same phone system she was used to in Buckingham Palace. When she wasn’t entertaining, the queen liked it quiet. The crew wore sneakers, communicated in hand signals, and (at least near the queen’s quarters) had to be finished with all their work by 8:00 in the morning.

Take a peek into the adjoining his-and-hers bedrooms of Queen Elizabeth and the Duke of Edinburgh (check out the spartan twin beds), and the honeymoon suite where then-Prince Charles and Princess Di began their wedded bliss.

Heading down another deck, walk through the officers’ lounge (and learn about the rowdy games they played) and past the galleys (including custom cabinetry for the fine china and silver) on your way to the biggest room on the yacht, the state dining room. Now decorated with gifts given by the ship’s many noteworthy guests, this space enabled the queen to entertain a good-size crowd. The drawing room, while rather simple (the queen specifically requested “country house comfort”), was perfect for casual relaxing among royals. Princess Diana played the piano, which is bolted to the deck. Note the contrast to the decidedly less plush crew’s quarters, mail room, sick bay, laundry, and engine room.

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This small but fascinating countryside church, about a 20-minute drive south of Edinburgh, is a riot of carved iconography. The patterned ceiling and walls have left scholars guessing about the symbolism for centuries. To avoid overcrowding, visits here are limited to 1.5 hour time slots (best to book ahead online).

Cost and Hours: £11.50 timed-entry ticket, includes short talk by guide, Mon-Sat 9:00-17:00, Sun from 12:00, located in Roslin Village, +44 131 440 2159, rosslynchapel.com.

Tours: Guided talks start 30 minutes after the beginning of each 90-minute time slot and last about 15 minutes. If you arrive without reservations, ask if there’s space in the next available time slot.

Getting There: Ride Lothian bus #37 (direction: Penicuik/Deanburn) from Princes Street (stop PJ), North Bridge, or Newington Road in the B&B neighborhood (1-2/hour, 45 minutes). By car, take the A-701 to Penicuik/Peebles, and follow signs for Roslin; once you’re in the village, you’ll see signs for the chapel.

Background: Founded in 1446 as the private mausoleum of the St. Clair family—who wanted to be buried close to God—the church’s interior is carved with a stunning mishmash of Christian, pagan, family, Templar, Masonic, and other symbolism. After the Scottish Reformation, Catholic churches like this fell into disrepair. But in the 18th and 19th centuries, Romantics such as Robert Burns and Sir Walter Scott discovered these evocative old ruins, putting Rosslyn Chapel back on the map. Even Queen Victoria visited and gently suggested that the chapel be restored to its original state. Today, after more than a century of refits and refurbishments, the chapel transports visitors back to a distant and mysterious age.

Visiting the Chapel: The modern visitors center controls the flow of visitors into the chapel and offer orientation materials, including an annotated map pointing out chapel highlights.

Photography is prohibited inside the chapel, but there are plenty of detailed carvings on the exterior, including gremlin faces doing their work as storm drains, and human faces (probably modeled after friends of the stonemasons) carved into window frames.

Inside, look for these fun details: In the chapel basement, find the sacristy—the stonemasons worked here, and you can see faint architectural drawings engraved in the wall, used to help them plot out their master design. On the column in the corner to the left of the altar, find the angels playing musical instruments—including one with bagpipes. In the same corner, one angel hangs upside down, bound with ropes, likely representing a certain someone expelled from heaven.

Nearby, you’ll see a person dancing with a skeleton. This “dance of death” theme—common in the Middle Ages—is a reminder of mortality: We’ll all die eventually, so we might as well whoop it up while we’re here. On the other side of the nave are carvings of the seven deadly sins and the seven acts of mercy. One inscription reads, “Wine is strong. Kings are stronger. Women are stronger still. But truth conquers all.”

Flanking the altar are two carved columns that come with a legend: The more standard-issue column, on the left, was executed by a master mason, who soon after (perhaps disappointed in his lack of originality) went on a sabbatical to gain inspiration. While he was gone, his ambitious apprentice carved the beautiful corkscrew-shaped column on the right. Upon returning, the master flew into an envious rage and murdered the apprentice with his carving hammer.

Scattered throughout the church, you’ll also see the family’s symbol, the “engrailed cross” (with serrated edges). Keep an eye out for the more than one hundred “green men”—chubby faces with leaves and vines growing out of their orifices, symbolizing nature. This paradise/Garden of Eden theme is enhanced by a smattering of exotic animals (monkey, elephant, camel, dragon, and a lion fighting a unicorn) and some exotic foliage: aloe vera, trillium, and corn. That last one (framing a window to the right of the altar) is a mystery: It was carved well before Columbus sailed the ocean blue, at a time when corn was unknown in Europe. Several theories have been suggested—some far-fetched (the father of the man who built the chapel explored the New World before Columbus), and others more plausible (the St. Clairs were of Norse descent, and the Vikings traveled to the Americas well before Columbus). Others simply say it’s not corn at all—it’s stalks of wheat.

Britain’s second-oldest botanical garden (after Oxford) was established in 1670 for medicinal herbs, and this 70-acre refuge is now one of Europe’s best. A visitors center has temporary exhibits. The vintage “glasshouses” (greenhouses) are undergoing restoration and may be closed when you visit; when they reopen, there will be an admission charge to go inside.

Cost and Hours: Free; daily 10:00-17:00, Nov-Jan until 16:00; £10 tours by volunteer guides go daily at 11:00 and 14:00; café and restaurant, a mile north of the city center at Inverleith Row, +44 131 248 2909, rbge.org.uk.

Getting There: It’s a 10-minute bus ride from the city center: Take bus #8 or #9 from North Bridge, or #23 or #27 from George IV Bridge (near the National Museum) or The Mound. The Regal Tour hop-on, hop-off bus also stops here. Or you can walk from Dean Village near the West End, by way of the lovely Water of Leith Walkway (see here).

This museum, with two buildings set in a beautiful parkland, houses Scottish and international paintings and sculpture from 1900 to the present, including works by Matisse, Duchamp, Picasso, and Warhol. The grounds include a pleasant outdoor sculpture park and a café.

Cost and Hours: Free, daily 10:00-17:00, 75 Belford Road, +44 131 624 6200, nationalgalleries.org.

Getting There: It’s about a 20-minute walk west from the city center.

Whether you’re a novice taster or a longtime connoisseur, you’ll enjoy being immersed in Edinburgh’s whisky lore.

The residents of Edinburgh drink more gin per person than any other city in the United Kingdom. The city is largely responsible for the recent renaissance of this drink, so it’s only appropriate that you visit a gin distillery while in town. Two distilleries right in the heart of Edinburgh offer hour-long tours with colorful guides who relate the history of gin, show off the stills used in the production process, and ply you with libations. These tours are popular and fill up; book ahead online.

Rising up from the heart of Edinburgh, Holyrood Park is a lush green mountain squeezed between the parliament/Holyroodhouse (at the bottom of the Royal Mile) and my recommended B&B neighborhood south of the center. You can connect these two zones via an early-morning or late-evening hike. Or, for a more serious climb, make the ascent to the summit of Arthur’s Seat, the 822-foot-tall remains of an extinct volcano. At the summit, you’ll be rewarded with commanding views of the town and surroundings. Rangers regularly lead free themed walks; find out what’s scheduled and book a spot on the park’s website (historicenvironment.scot, search “Holyrood Park”).

Hiking Along the Salisbury Crags: There are three ways to connect the Royal Mile and the B&B neighborhood to the south by foot. Unfortunately, the most scenic option, the Radical Road route along the Salisbury Crags, has been closed for several years due to rock falls. Work is ongoing to reinforce the rocks and reopen the path. Rangers sometimes conduct guided tours in the area—check the website.

From the Royal Mile: Begin in the parking lot below the Palace of Holyroodhouse. Facing the cliff, you’ll see two trailheads. If the Radical Road trail to the right is open, take it. At the far end, you can descend into the Dalkeith Road area or continue steeply up the switchback trail to the Arthur’s Seat summit (described later). If the Radical Road trail is closed, head to the left (with the big playfield on your left) and find the trail that cuts through the meadow across the saddle of land between the peaks. Alternatively, you can hike steeply up to the top of the Salisbury Crags for a more demanding, but scenic, hike. These trails meet up on the other side, near the base of the Arthur’s Seat hike.

From the B&B Neighborhood South of the Center: From the Commonwealth Pool, take Holyrood Park Road, bear left at the first roundabout, then turn right at the second roundabout (onto Queen’s Drive). Soon you’ll see the trailhead, which splits into various options. If the Radical Road to the left—under the dramatic cliffs—is open, take it for fantastic views as you head toward the Royal Mile. Otherwise, head straight ahead across the meadow. (See the map on here to trace these directions.) Or, for more of a hike, angle up to the left here to find a trail that goes along the top of the Salisbury Crags. The steep Piper’s Walk up to Arthur’s Seat also begins here, on the right.

Summiting Arthur’s Seat: For a moderately strenuous hike to a hilltop viewpoint right in the city center, consider summiting Arthur’s Seat. While the distance is not great, the hike is steep and the footing can be challenging, with irregularly spaced stone steps most of the way; as these have been worn smooth by hikers, they can be slippery on the way down, even when dry (and treacherous when wet). Those in great shape can make it from the park at the bottom to the summit in about 20 minutes; mere mortals should allow more time. The payoff at the top is sweeping, 360-degree views over all of Edinburgh and its surroundings.

The most direct route to the summit is the steep stone steps nicknamed the Piper’s Walk that rise straight up from above the B&B neighborhood side of the hill. For a more gradual approach, curl around the back of Arthur’s Seat (as you approach from the B&B area, hook around to the right). This 2.5-mile walk takes you scenically over Duddingston Loch (and Duddingston Village, described later—for a longer hike, you can combine this walk with that one). When you reach the smaller lake called Dunsapie Loch, head up (either through the steep meadow or along the nearby trail) to reach the craggy top of Arthur’s Seat. (Taxis can take you as far up as the Dunsapie Loch car park—trimming the walk about in half—but you still face a steep ascent from here.) Regardless of how you approach, you’ll have to traverse the final, steep, rocky path to the summit, where intrepid hikers appreciate the grand views while taking turns snapping selfies at the block marking the highest point in Edinburgh.

The Water of Leith Walkway is a 12-mile, mostly level urban trail that follows Edinburgh’s river all the way to its historic port, at Leith. To escape the city on a refreshing, easy-to-follow stroll, you can follow just a short segment of the path. Locals enjoy the one-mile stretch from Roseburn to Dean Village, but the most popular option is to begin in Dean and walk a mile to Stockbridge, or to extend another half-mile or so to Canonmills near the Royal Botanic Garden. For some light commentary en route, download free audio tour tracks at waterofleith.org.uk/walkway.

This low-key, 30-minute walk goes from the B&B neighborhood south of the center to Duddingston Village—a former village that got absorbed by Edinburgh but still retains its old, cobbled feel; local church; and great old-time pub, the recommended Sheep Heid Inn. Also, here is Dr. Neil’s Garden—a peaceful, free garden on a loch.

Walk behind the Commonwealth Pool along Holyrood Park Road. Before the roundabout, just after passing through the wall/gate, take the path to your right. This path runs alongside the Duddingston Low Road all the way to the village and garden. Ignore the road traffic and enjoy the views of Arthur’s Seat, the golf course, and eventually, Duddingston Loch. When you reach the cobbled road, you’re in Duddingston Village, with the church on your right and the Sheep Heid Inn a block down on your left. Another 100 feet down the main road is a gate labeled “The Manse” with the number 5—enter here for the garden.

Dr. Neil’s Garden (also known as the Secret Garden) was started by doctors Nancy and Andrew Neil, who traveled throughout Europe in the 1960s gathering trees and plants. They brought them back here, planted them on this land, and tended to them with the help of their patients. Today it offers a quiet, secluded break from the city, where you can walk among flowers and trees and over quaint bridges, get inspired by quotes written on chalkboards, or sit on a bench overlooking the loch (free, daily 10:00-dusk, charming café open Thu-Sun, +44 784 918 7995, drneilsgarden.co.uk).

For an easy walk for fine views over all of Edinburgh and beyond, head up to Calton Hill—the monument-studded bluff that rises from the eastern end of the New Town. From the Waverley Station area, simply head east on Princes Street (which becomes Waterloo Place).

About five minutes after passing North Bridge, watch on the right for the gated entrance to the Old Calton Cemetery—worth a quick walk-through for its stirring monuments to great Scots. The can’t-miss-it round monument honors the philosopher David Hume; just next to that is a memorial topped by Abraham Lincoln, honoring Scottish American troops who were killed in combat. The obelisk honors political martyrs.

The views from the cemetery are good, but for even better ones, head back out to the main road and continue a few more minutes on Waterloo Place. Across the street, steps lead up into Calton Hill. Explore the park, purchased by the city in 1724 and one of the first public parks in Britain. Informational plaques identify the key landmarks. At the summit of the hill is the giant, unfinished replica of the Parthenon, honoring those lost in the Napoleonic Wars. Donations to finish it never materialized, leaving it with the nickname “Edinburgh’s Disgrace.” Nearby, the old observatory holds an old telescope, and the back of the hillside boasts sweeping views over the Firth of Forth and Edinburgh’s sprawl. Back toward the Old Town, the tallest tower (shaped like a 19th-century admiral’s telescope) celebrates Admiral Horatio Nelson. There’s an interesting free exhibit about Nelson at the base of the tower. While you can pay to climb it for the view, it doesn’t gain you much. The best views are around the smaller, circular Dugald Stewart Monument, with postcard panoramas overlooking the spires of the Old Town and the New Town.

Whisky shops are a dime a dozen around the Royal Mile. But the places I’ve listed here distinguish themselves by their tradition and helpful staff. For more guided tasting options and tips on buying whisky, see here.

Cadenhead’s Whisky Shop is not a tourist sight—don’t expect free samples or a hand-holding shopping experience. Founded in 1842, this firm prides itself on bottling good whisky straight from casks at the distilleries, without all the compromises that come with profitable mass production. Those drinking Cadenhead-bottled whiskies will enjoy the pure product. If you’re serious about buying, the staff can explain the sometimes-complex whisky board and talk you through flavor profiles (prices start around £12 for about 3.5 ounces; open Mon-Sat 10:30-17:30, closed Sun; 172 Canongate, +44 131 556 5864, cadenhead.scot).

Whiski Rooms Shop, just off the Royal Mile, comes with a knowledgeable, friendly staff that happily assists novices and experts alike to select the right bottle. Their adjacent bar usually has about 400 open bottles: Serious purchasers can get a sample. You can order a shareable flight in the bar, which comes with written information about each whisky you’re sampling (variety of options around £30-45, available anytime the bar is open). Or you can opt for a guided tasting (£30 for one-hour introductory tasting, £75 for 1.5-hour premium tasting, chocolate and cheese pairings also available, reserve ahead; shop open daily 11:00-19:00; bar open Mon-Fri until 23:00, Sat-Sun until 24:00; 4 North Bank Street, +44 131 225 1532, whiskirooms.co.uk).

Near the B&B Neighborhood: Perhaps the most accessible place to learn about local whiskies is conveniently located in the B&B area south of the city center. WoodWinters (see photo, previous page) has a passion both for traditional spirits and for the latest innovations in Edinburgh’s booze scene. It’s well stocked with 300 whiskies and gins, as well as wines and local craft beers. Curious browsers can ask to sample a wee dram (Mon-Wed and Sat 10:00-19:00, Thu-Fri until 20:00, closed Sun, 91 Newington Road—for location, see the “B&Bs & Restaurants South of the City Center” map, +44 131 667 2760, woodwinters.com).

Many of the kilt outfitters you’ll see along the Royal Mile are selling cheap knockoffs, made with printed rather than woven tartan material. If you want a serious kilt—or would enjoy window-shopping for one—try the place below. They have a few off-the-rack options, but to get a kilt in your specific tartan and size, they’ll probably take your measurements, custom-make it, and ship it to you. For a good-quality outfit (kilt, jacket, and accessories), plan on spending about £1,000.

Nicolson Kiltmakers has a respect for tradition and quality. Owner Gordon enlists and trains local craftspeople who specialize in traditionally manufactured kilts and accessories. He prides himself on keeping the old ways alive and actively cultivates the next generation of kiltmakers (Mon-Sat 9:30-17:30, Wed from 10:00, Sun 12:00-16:00, 189 Canongate, +44 131 558 2887, nicolsonkiltmakers.com). Their second branch, a couple of blocks up the Royal Mile at 19 St. Mary’s, has rental kilts and their workshop.

Several places around town sell the famous Harris Tweed, the authentic stuff hand woven on the Isle of Harris in the far west of Scotland. Harris Tweed is a protected name, so if the label says “Harris,” you know it’s the real thing. Walker Slater is the place to go for top-quality tweed at top prices. They have two locations on Victoria Street, just below the Royal Mile near Grassmarket: menswear at #16 and womenswear at #46. This place feels elegant and exclusive (Mon-Sat 10:00-18:00, Sun from 11:00, walkerslater.com). Harris Tweed is also available at the Tartan Weaving Mill at the top of the Royal Mile (daily 9:00-19:00, 555 Castlehill, +44 131 220 2477).

Jewelry with Celtic designs, mostly made from sterling silver, is a popular and affordable souvenir. While you’ll see it sold around town, Celtic Design (156 Canongate) offers a tasteful, good-quality selection.

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This two-hour walk is an interesting and worthwhile way to spend an evening. Think of it as a walking theatrical performance, where you follow the witty dialogue of two actors as they debate the great literature of Scotland. You’ll cover a lot of ground, wandering from Grassmarket over the Old Town and New Town, with stops in three to four pubs, as your guides share their takes on Scotland’s literary greats. The tour meets at the Beehive Inn on Grassmarket (£20—no cash, just show up or book online, drinks extra; June-July and Sept nightly at 19:30; April-May and Oct Thu-Sun; March and Nov-Dec Fri and Sun; Aug and Jan-Feb private tours only by request; 18 Grassmarket, +44 800 169 7410, edinburghliterarypubtour.co.uk).

A variety of companies lead spooky walks around town, providing an entertaining and affordable night out (offered nightly, most around 19:00 and 21:00, easy socializing for solo travelers). These two options are the most established.

Auld Reekie Tours offers a scary array of walks daily and nightly. Auld Reekie intertwines the grim and gory aspects of Scotland’s history with the paranormal, witch covens, and pagan temples. They take groups into the “haunted vaults” under the old bridges “where it was so dark, so crowded, and so squalid that the people there knew each other not by how they looked, but by how they sounded, felt, and smelt.” The guides are passionate, and the stories are genuinely spooky (£22-24, 1-1.5 hours, book online, all tours leave from in front of the modern Bank of Scotland building on the Royal Mile, opposite Deacon Brodie’s Tavern at 300 Lawnmarket, +44 131 557 4700, auldreekietours.com).

Cadies & Witchery Tours are theatrical, with a balance of historical context and slapstick humor that’s fun for families. They offer two different 90-minute walks: an afternoon tour of Greyfriars Cemetery, with a bit more of a historical focus (£16, at 14:00, meet at the Cadies and Witchery Tours Shop at 84 West Bow—where Victoria Street bends down toward Grassmarket); and an evening Ghosts and Gore walk by a costumed guide—a bit goofier, with more jumps and scares (£15, at 19:00, leaves from outside the Witchery Restaurant at the top of the Royal Mile near the Esplanade). Tours generally run Wed-Sun—check schedule and make required reservations online (+44 131 225 6745, witcherytours.com).

You can watch traditional ceilidh dancing on some Fridays at Ghillie Dhu, a beautifully restored hall in the former St. Thomas Episcopal Church in the New Town (£55 includes three-course dinner, see website for schedule and to book, 2 Rutland Place, +44 131 222 9930, ghillie-dhu.co.uk).

If you’d like to try ceilidh dancing yourself, there are often opportunities around town—ask your hotelier. You’ll get some instruction first, then be invited to take the floor!

The Spirit of Scotland Show, near the National Museum just south of the Royal Mile, includes a traditional dinner with all the edible clichés, followed by a full slate of swirling kilts, blaring bagpipes, storytelling, and Scottish folk dancing. As this is designed for tour groups, you’ll sit in a big music hall, served en masse before enjoying the stage show with an old-time emcee. For most travelers, it’s painfully cheesy (£89.25 for dinner and show, runs most nights in summer, fewer shows off-season, check details and book online; Royal College of Surgeons on Nicolson Street—see the “Edinburgh City Center Restaurants” map, later, +44 131 618 9899, spiritofscotlandshow.co.uk).

Even outside of festival time, Edinburgh is a fine place for lively and affordable theater and live music. For a rundown of what’s on, see the List (list.co.uk).

Tight, stuffy Sandy Bell’s offers frequent live folk music—sometimes in the afternoon as well as most evenings. There’s no food, drinks are cheap, tables are small, and the vibe is local (daily until late, near the National Museum of Scotland at 25 Forrest Road, +44 131 225 2751, sandybells.com).

Captain’s Bar, with a pleasantly salty nautical theme, is a crowded but cozy, music-focused pub with live sessions of folk and traditional music nightly (daily 14:00 until late, Sat from 13:00, 4 South College Street, captainsedinburgh.com).

The Royal Oak, a characteristic, snug place for a dose of folk and blues, feels like a friend’s living room (daily 15:00 until late, just off South Bridge opposite Chambers Road at 1 Infirmary Street, +44 131 557 2976, royal-oak-folk.com).

This area below the castle bustles with live music and rowdy people spilling out of pubs and into what was (once upon a time) a busy market square. While it used to be a mecca for Scottish folk music, today it’s more youthful, with a heavy-drinking, rowdy feel. Still, it can be fun to wander through this lively area late at night and check out the scene.

The Fiddlers Arms has a charming Grassmarket pub energy with live folk, pop, or rock, depending on the night (Fri-Sat from 21:00, also Thu in Aug, at the far end of the square). Check out Biddy Mulligans or White Hart Inn (both on Grassmarket and both usually with a single Irish folk singer nightly). Finnegan’s Wake, on Victoria Street (which leads down to Grassmarket), is more of a down-and-dirty, classic rock bar with dancing (though some traditional music is thrown in every now and then). The Bow Bar, a couple doors away on Victoria Street, has no music but offers a hard-to-resist classic pub scene.

The Scotsman’s Lounge, just a few steps off the Royal Mile down Cockburn Street, may be the most central spot to find good folk music. It’s also a rare spot where you can often find afternoon sessions—starting as early as 13:00 on weekends and 17:00 on Mondays and Thursdays (73 Cockburn Street, +44 131 225 7726).

Nearby, three characteristic pubs steps apart on High Street (opposite the Radisson Blu Hotel) offer a fun setting, classic pub architecture and ambience, and live music (generally a single folk guitarist) for the cost of a beer: Whiski Bar (mostly trad and folk nightly, whiskibar.co.uk), Royal Mile Tavern (classic rock, pop, some trad; nightly, royalmiletavern.com), and The Mitre Bar (acoustic pop/rock with some trad; usually weekends only).

Just a block away (on South Bridge) is Whistle Binkies Live Music Bar. While they rarely do folk or Scottish trad, this is the most serious of the music pubs, with an actual stage and several acts nightly (schedule posted outside makes the genre clear; young crowd, fun energy, sticky floors, no cover, +44 131 557 5114, whistlebinkies.com).

Farther down the Royal Mile, No. 1 High Street is an accessible little pub with a love of folk and traditional music (1 High Street, +44 131 556 5758, no1highstreetedinburgh.co.uk). World’s End, across the street, also has music many nights (4 High Street, +44 131 556 3628).

The pubs in the B&B area don’t typically have live music, but some are fun evening hangouts (for locations, see the “B&Bs & Restaurants South of the City Center” map, later).

Leslie’s Bar, sitting between a working-class and an upper-class neighborhood, has two sides. Originally, the gang (men) would go in on the right to gather around the great hardwood bar, glittering with a century of Cheers ambience. Meanwhile, the more delicate folk (women) would slip in on the left, with its discreet doors, plush snugs (cozy private booths), and ornate ordering windows. Since 1896, this Victorian classic has been appreciated for both its real ales and its huge selection of fine whiskies (listed on a lengthy menu). Dive into the whisky mosh pit on the right and let them show you how whisky can become “a very good friend” (daily from 12:00 until late, 49 Ratcliffe Terrace, +44 131 667 7205).

Other good pubs in this area include The Old Bell (uphill from Leslie’s, popular and cozy, with big TV screens) and The Salisbury Arms (bigger, more sprawling, feels upscale); both are described later, under “Eating in Edinburgh.”

Most of my B&Bs near Dalkeith Road are located south of the Royal Commonwealth Pool.

£££ Hotel Ceilidh-Donia is bigger (17 rooms) and more hotel-like than other nearby B&Bs, with a bar and a small reception area, but managers Kevin and Susan and their staff provide guesthouse warmth. The back deck is a pleasant place to relax on a warm day. The name—a pun on “ceilidh” and “Caledonia”—is pronounced “kayley-donya” (family room, 2-night minimum on peak-season weekends, 14 Marchhall Crescent, +44 131 667 2743, hotelceilidh-donia.co.uk, reservations@hotelceilidh-donia.co.uk).

££ Gifford House, on busy Dalkeith Road, is a bright retreat with six peaceful, colorful rooms (some with ornate cornices and views of Arthur’s Seat) and compact, modern bathrooms (no breakfast, family rooms, 103 Dalkeith Road, +44 131 667 4688, giffordhouseedinburgh.com, bookings@giffordhouseedinburgh.com, Josh).

££ Ard-Na-Said B&B, in an elegant 1875 Victorian house, has seven bright, spacious rooms with modern bathrooms, including one ground-floor room with a pleasant patio and two with Ard-Na-Said (Arthur’s Seat) views (no breakfast, 2-night minimum preferred in summer, 5 Priestfield Road, +44 747 660 6202, ardnasaid.co.uk, info@ardnasaid.co.uk, Audrey Ballantine and son Steven).

££ AmarAgua Guest House is an inviting Victorian home away from home, with six welcoming rooms—a couple with four-poster beds—and eager hosts (one double with private bath down the hall, 2-night minimum, no kids under 12, 10 Kilmaurs Terrace, +44 131 667 6775, amaragua.co.uk, reservations@amaragua.co.uk, Lucia and Kuan).

£ Airdenair Guest House is a hands-off, bare-bones guesthouse, with no formal host greeting (you’ll get an access code to let yourself in) and a self-serve breakfast buffet. But the price is right, and the seven simple rooms—some with older bathrooms—do the trick (29 Kilmaurs Road, +44 781 731 3035, airdenair.co.uk, contact@airdenair.co.uk, Duncan).

These higher-end places are just a couple of blocks from the Dalkeith Road options, along the busy Newington Road (which turns into Mayfield Gardens). All have free private parking.

£££ At 23 Mayfield Guest House, Ross and Kathleen (with their wee helpers Ethan and Alfie) rent seven splurge-worthy, thoughtfully appointed rooms complete with high-tech bathrooms (rain showers and motion-sensor light-up mirrors). Little extras—such as fresh herb-infused water and gourmet breakfasts with homegrown produce, an inviting guest lounge outfitted with leather-bound Arthur Conan Doyle books, an honesty bar, and classic black-and-white movie screenings—make you feel like royalty (RS% with cash, family room, 2-night minimum preferred in summer, 23 Mayfield Gardens, +44 131 667 5806, 23mayfield.co.uk, info@23mayfield.co.uk).

£££ Barony House is run with infectious enthusiasm by Aussies Paul and Susan. Susan has decorated the place with incredible care, adding handmade flourishes (including her own pottery) that revive the house’s historical character while injecting it with fun and style—and she also cooks a wonderful variety of breakfasts. They have six elegant doubles, including two in the “garden” level next door, in a former servants’ quarters—now a peaceful retreat with access to a shared kitchen (3-night minimum preferred in summer, no kids under 9, 20 Mayfield Gardens, +44 131 662 9938, baronyhouse.co.uk, booknow@baronyhouse.co.uk).

£££ Glenalmond House, run by Jimmy and Fiona Mackie, has nine smart and comfortable rooms and lots of rich mahogany furniture. Two rooms have garden patios (RS% with cash, discounts for longer stays, family room, no kids under 5, 25 Mayfield Gardens, +44 131 668 2392, glenalmondhouse.com, enquiries@glenalmondhouse.com).

£££ Kingsway Guest House, with seven bright and stylish rooms, is owned by conscientious, delightful Edinburgh natives Gary and Lizzie, who have thought of all the little touches, cook tasty breakfasts with daily specials, and offer good advice on neighborhood eats (RS% with cash, family rooms, one room with private bath down the hall, 5 East Mayfield, +44 131 667 5029, edinburgh-guesthouse.com, info@kingswayguesthouse.com).

££ Sonas Guest House has nine simple, cheerful, and homey rooms, two of which have bathtubs (no breakfast—but many options nearby, no children under 12, 3 East Mayfield, +44 7828 903 361 or +44 7447 618 267, sonasguesthouse.com, info@sonasguesthouse.com, Irene and Dennis; daughter Louise runs the Grangeview Guest House next door).

These accommodations are just one block over from Mayfield Gardens.

£££ Lauderville Guest House, run by upbeat Simon (who took over the place from his parents), has seven rooms with modern flourishes and a lovely garden with a water feature in back (2- or 3-night minimum in peak times, private parking, 52 Mayfield Road, +44 7887 648 111, laudervilleguesthouse.com, res@laudervilleguesthouse.co.uk).

££ Highfield Guest House feels a bit more refined, with five rooms, crisp decor, and white tablecloths in the dining room—where you are welcome to enjoy takeout (no breakfast, one single has a private shower room, 83 Mayfield Road, +44 131 667 8717, highfieldgh.co.uk, info@highfieldgh.co.uk; Maggie, Gordon, and Kate).

££££ Le Bistrot is a delightful café hiding just steps off the Royal Mile in the same building as the French consulate (as if put here to promote a love of French culture). Its glowy ambience, authentic French menu, and great prices make this a welcoming spot to have dinner before an evening stroll down the Royal Mile—when all the crowds have gone to the pubs. Try their soup or fish of the day (daily, affordable fixed-price lunch, 59 George IV Bridge, +44 131 225 4021, lebistrot.co.uk).

££££ The Outsider is a proudly independent bistro with a noisy, energetic vibe filling its sleek, sprawling dining room. The good-value menu features fresh, modern Scottish cuisine with daily specials “until sold out” scribbled on it. Ask for a window table at the back for views of the castle floating above the rooftops (daily, long list of lunches under £12 available until 17:00, reservations smart, 15 George IV Bridge, +44 131 226 3131, theoutsiderrestaurant.com [URL inactive], Eddie and partners).

Though the eateries along this most crowded stretch of the city are invariably touristy, the scene is fun. Sprinkled among this list are some places offering better values and maybe fewer tourists.

£££ Devil’s Advocate is a popular gastropub that hides down the narrow lane called Advocates Close, directly across the Royal Mile from St. Giles. It’s a mix of old and new Edinburgh, with an old cellar setting—exposed stone and heavy beams—done up in modern style. Creative whisky cocktails kick off a menu that dares to be adventurous, but with a respect for Scottish tradition (daily, 9 Advocates Close, +44 131 225 4465, devilsadvocateedinburgh.co.uk).

££££ Wedgwood Restaurant is romantic, contemporary, chic, and gourmet without pretense. Paul Wedgwood cooks while his wife Lisa serves with appetizing charm. The cuisine: creative, modern Scottish with an international twist. They’re known for their scallops and roe deer; consider their “Wee Tour of Scotland” tasting menu for £85. Don’t come here to eat and run—your meal will be the event of the evening. I like the ground level with the Royal Mile view and the busy kitchen ambience better than their basement seating (daily, lunch specials, fine wine by the glass, reservations smart, 267 Canongate on Royal Mile, +44 131 558 8737, wedgwoodtherestaurant.co.uk).

££ David Bann Vegetarian Restaurant is a worthwhile stop for vegetarians in need of a break from traditional veggie grub. This place—with its candles and cocktail bar—doesn’t have even a hint of hippie. It’s upscale, sleek, minimalist, and stylish (gorgeously presented dishes); serious about quality; and organic. Try the signature smoked tofu. There’s an enthusiastic local following—and decadent desserts (daily, vegan and gluten-free options, fixed-price lunches, a long block off the Royal Mile at 56 St. Mary’s Street, +44 131 556 5888, davidbann.co.uk).

These restaurants (all within about 100 yards of each other) are happily removed from the Royal Mile melee and skew to a youthful clientele with few tourists. After passing the Greyfriars Bobby statue and the National Museum, fork right onto Forrest Road.

£ Union of Genius is an innovative lunch spot featuring an international selection of soups (always including a couple of daily specials), as well as sandwiches and böreks. The small space is often packed with regular customers; line up at the counter, then either take your soup to go or sit at one of the few tables (daily 8:00-17:00, 8 Forrest Road, +44 749 705 9947).

££ Mums, a kitschy Scottish diner, serves up comfort food just like mum used to make. The extensive menu offers huge portions of heavy, greasy Scottish/British standards—bangers (sausages), meat pies, burgers, and artery-clogging breakfasts (the latter served until 11:45)—plus vegetarian options. There’s often a line out the door on weekends (daily, 4 Forrest Road, +44 131 260 9806).

£ Ting Thai Caravan is a loud, industrial-mod eatery serving adventurous Thai street food (soups, noodles, and curries). It’s a young, stark, and simple place with thumping music, communal tables, and great food (daily, 8 Teviot Place, +44 131 225 9801). There are other locations around Edinburgh, too.

£ Civerinos Slice, part of a local chain, does the trick when you’re looking for a straightforward pizza joint (daily, 49 Forrest Road, +44 131 225 4026).

In addition to the options listed below, St. Andrew Square is home to several Edinburgh branches of trendy London restaurants, including Gordon Ramsay’s Bread Street Kitchen, Wagamama (Asian noodles), and Wahaca (Mexican).

££££ The Magnum Restaurant and Bar is a relaxed, classy pub-gone-bistro serving beautifully presented Scottish dishes with smart service and no pretense. The appetizing menu is creative and inviting. A block beyond the tourist zone, it feels like a neighborhood favorite (daily, lunch specials, 1 Albany Street, +44 131 557 4366).

£££ Dishoom is a sprawling, high-energy, Bombay Café phenom. The menu makes Indian food joyfully accessible. You’ll enjoy upscale South Asian cuisine in a bustling, dark, 1920s dining room on the second floor overlooking St. Andrew Square; there are also a few outdoor tables (I’d avoid the basement). It’s a popular spot but no reservations are taken after 17:45, so arrive early or plan to wait (long hours daily, 3A St. Andrew Square, +44 131 202 6406).

£££ Café Royal is the perfect fin de siècle setting for a coffee, beer, or light meal. Drop in, if only to admire the 1880 tiles featuring famous inventors. The menu is both traditional and modern, with vegetarian dishes and lots of oysters (daily, 19 West Register Street, +44 131 556 1884). The attached small ££££ restaurant specializes in oysters, fish, and game. While dressier, stuffier, and more expensive, it is good (and was a filming location for Chariots of Fire; reservations recommended).

£££ The Dome Restaurant, filling what was a fancy bank, serves modern international cuisine around a classy bar and under an elegant 19th-century skylight dome. Soft jazz and a chic, white-tablecloth ambience make for an opulent atmosphere (daily, two- and three-course specials until 18:30, reserve for dinner or stop in for a drink under the dome, 14 George Street, +44 131 624 8624, thedomeedinburgh.com).

£ St. Andrew’s and St. George’s Church Undercroft Café, in the basement of a fine old church, is the cheapest place in town for soup, sandwiches, quiche, or scones for lunch. Your tiny bill helps support the Church of Scotland (Mon-Fri until 14:00, closed Sat-Sun, just off St. Andrew Square at 13 George Street, +44 131 225 3847). It’s run by sweet volunteers who love to chat.

£ Oink—the pig roastery described earlier along the Royal Mile—also has a location in the heart of the New Town (daily until 17:00 or until sold out, 38 Hanover Street).

Supermarket: Ideal for picnic fare, Marks & Spencer Food Hall offers an assortment of tasty hot foods, prepared sandwiches, fresh bakery items, and a wide selection of wines and beverages. It’s just a block from the Scott Monument and the Princes Street Gardens (daily, Princes Street 54—separate stairway next to main M&S entrance leads directly to food hall, +44 131 225 2301).

Peaceful little Thistle Street has a cluster of enticing eateries.

££££ Le Café St. Honoré, tucked away like a secret bit of old Paris, is a charming place with friendly service and walls lined with wine bottles. It serves French-Scottish cuisine in tight, Old World, cut-glass elegance to a dressy crowd (closed Tue-Wed, two- and three-course lunch and dinner specials, reservations smart—ask to sit upstairs rather than in the basement, 34 Northwest Thistle Street Lane, +44 131 226 2211, cafesthonore.com).

£££ The Bon Vivant is woody, youthful, and candlelit, with a rotating menu of French/Scottish dishes, lots of champagne and wines by the glass, and a companion wine shop next door. They have fun tapas plates and heartier dishes, served either in the bar up front or in the restaurant in back (daily, Mon-Tue dinner only, reservations smart, 55 Thistle Street, +44 131 225 3275, bonvivantedinburgh.co.uk).

££££ Fishers in the City, an upscale place to dine on seafood, has an inviting menu and lots of nice wines by the glass. The energy is lively, the clientele is smart, and the room is bright and airy with a simple elegance (daily, reservations smart, 58 Thistle Street, +44 131 225 5109, fishersrestaurants.co.uk).

£££ The Salisbury Arms is a gastropub serving upscale, traditional classics with flair. While they have a bar area and a garden terrace, I’d dine in their elegant restaurant section. The menu ranges from burgers and salads to more sophisticated dishes (daily, book ahead for restaurant, no reservations taken for pub, across from the pool at 58 Dalkeith Road, +44 131 667 4518, thesalisburyarmsedinburgh.co.uk).

££ The Old Bell Inn, with an old-time sports-bar ambience—fishing, golf, horses, lots of TVs—serves an extensive menu of pub meals with daily specials. This is a classic “snug pub”—all dark woods and brass beer taps, littered with evocative knickknacks (daily, bar tables can be reserved, 233 Causewayside, +44 131 668 1573, oldbelledinburgh.co.uk).

££ Southpour is a nice place for a local beer, craft cocktail, or reliable meal from a menu of salads, sandwiches, meat dishes, and other comfort foods. The brick walls, wood beams, and giant windows give it a warm and open vibe (daily, 1 Newington Road, +44 131 563 1773).

££ Voujon Restaurant serves a fusion menu of Bengali and Indian cuisines. Vegetarians appreciate the expansive yet inexpensive offerings (daily for dinner only, 107 Newington Road, +44 131 667 5046).

£££ Haldi, near my recommended B&Bs on Mayfield Gardens, takes a fresh, gourmet approach to Indian cuisine for less-than-gourmet prices. A few traditional favorites appear alongside mainly new inspirations, all with a seasonal, local focus and a simply beautiful presentation. Even dessert is distinctive (meat or veggie tasting menu available, reservations smart for tasting menu or dinner at peak times, Wed-Mon dinner only, closed Tue, 38 Mayfield Gardens, +44 131 241 8938, haldiedinburgh.co.uk).

Supermarkets: On the main streets near the restaurants you’ll find Sainsbury’s Local and Co-op (on South Clerk Street), and Tesco Express and another Sainsbury’s Local one block over on Causewayside (all open until at least 22:00).

££££ Rhubarb Restaurant specializes in Old World elegance. It’s in Prestonfield House—an over-the-top riot of antiques, velvet, tassels, and fringe. The plush dark-rhubarb decor reminds visitors that this was the first place where rhubarb was propagated in Scotland (18th century). It’s a short taxi ride past the other recommended eateries behind Arthur’s Seat, in a huge estate with big, shaggy Highland cattle enjoying their salads al fresco. Afternoon tea is served daily. At night, it’s a candlelit wonder. Most spend a ton here. Reserve in advance and dress up if you can (daily, Priestfield Road, +44 131 225 7800, prestonfield.com).

£££ The Sheep Heid Inn, Edinburgh’s oldest and most inviting public house, is equally notable for its history, date-night appeal, and elevated gastropub-type food (with the same owners, and a similar menu, as The Salisbury Arms, above). It’s a short cab ride or pleasant 30-minute walk from the B&B neighborhood, but it’s worth the effort to dine in this dreamy setting in the presence of past queens and kings—choose between the bar downstairs, dining room upstairs, or outside in the classic garden courtyard. Ask to see—or try—the original skittle alley (a type of bowling game), in a back room. Book ahead before you make the trip (daily, 43 The Causeway, +44 131 661 7974, thesheepheidedinburgh.co.uk).