Greyfriars Church, Candlemaker Row, Edinburgh.
Churchyard.
An unidentified monument - the inscription is badly eroded.
If you know who is here, please tell me.

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Dean School (former), Dean Path, Dean Village, Edinburgh, 1875.
By Robert Wilson (1834-1901), architect for the Edinburgh Board of Education.
B listed.
Converted to residential flats, 1985.

The Edinburgh School Board was founded in 1872 and initiated a city wide programme of school building. Robert Wilson had the post as chief architect to the School Board from the early 1870s onwards and imposed his own London Gothic style on the buildings. By the later 1880s he had adopted a classical and then a later Jacobean style.

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Hunter's Close, 71 Grassmarket, Edinburgh.

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National Gallery of Scotland, Edinburgh.
Landscape with Christ and Saint Peter.
Goffredo (Gottfried) Wals (c1590-c1638).
Oil on copper, c1630-38.

This painting’s circular composition and evocative Italian landscape are typical of Wals, although somewhat unusually for him, he included two figures in the foreground. Although it is supposed that the figures are Christ and Saint John the Baptist, the lack of any narrative makes this identification uncertain. The figures might possibly be apostles or Christ and Saint Peter. Wals seemed to reject narrative in most of his paintings, concentrating instead on the landscape and the buildings that populate it, as well as the effects of light. In this painting, the building on the far bank of the river may be based on the Tor di Quinto on the Tiber near Rome.

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The National Museum of Scotland, Chambers Street, Edinburgh.
Charger, late c19.
William De Morgan (1839-1917).
A circular dish of lustred earthenware decorated in red and yellow with a design of serpents affronté with bodies entwined about the stems of sunflowers.

William De Morgan was one of the most famous designers of tiles from the Arts and Crafts Movement, of which he was a founder member. He painted in a Pre-Raphaelite style, designed stained glass and became a novelist. He began his career as a stained glass designer, and only later became a potter, supplying William Morris from his home in Chelsea, London. He then moved to a pottery works to Merton in 1881/2 and then to Fulham in 1886. He married Evelyn Pickering, the Pre-Raphaelite painter, in 1887. During the Fulham period De Morgan experimented with glazes and rediscovered methods of making the intense greens and blues used in Majolica wares. He used these techniques in his own designs and became famous for his complex lustres and deep, intense underglaze painting. In 1907 William De Morgan left the pottery works and continued his life as a successful novelist.

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