Palace of Holyroodhouse – The NEN

Public to be given unique glimpse into Queen Elizabeth II’s private rooms at her official Scottish residence

Centenary tours to go on sale at the Palace of Holyroodhouse

The private apartments used by Queen Elizabeth II when in residence at the Palace of Holyroodhouse, the official residence of the monarch in Scotland, will open to visitors for the first time in 2026 to mark the centenary of her birth.

Available only this year, the tours will run for 100 days and will see small groups taken behind the scenes by expert guides to discover the history of the rooms and learn how they were used by Queen Elizabeth II and Prince Philip, Duke of Edinburgh, during her 70-year reign.

Royal Collection Trust email subscribers will be given priority access to book tickets at an exclusive offer price from Monday, 9 March, with remaining tickets going on general sale on Thursday, 12 March.

The Palace of Holyroodhouse was the setting for many significant occasions during the late Queen’s reign. While visiting Edinburgh to meet and celebrate Scots from all walks of life, she and Prince Philip would occupy a suite of private rooms on the Palace’s east side, with stunning views of the gardens and Holyrood Park.

These modestly decorated rooms offer a rare glimpse into the personal, ‘lived-in’ spaces used during private moments between official duties.

The rooms date from the 17th century and have been used by successive monarchs and members of the Royal Family since Queen Victoria’s reign. They are furnished with historic objects from the Royal Collection, as well as pieces from Queen Elizabeth and Prince Philip’s personal collections, many of which reflect their longstanding affection for Scotland.

Tours will take visitors through rooms and spaces including the Royal Breakfast Room, where the Queen and Prince Philip would dine privately while in residence. The room is hung with magnificent Flemish tapestries, woven around 1650, featuring a beautiful design of a pergola framing an ornate vase filled with flowers. The tapestries were hung in the room in the 1920s at the request of Queen Elizabeth’s grandparents, King George V and Queen Mary.

In the Dressing Room, giving a sense of how the Queen would prepare for official engagements, visitors will see three ensembles from her wardrobe, each worn during a significant occasion in Edinburgh.

For the official opening of the Scottish Parliament on 1 July 1999, the Queen wore a purple coat made of a silk-wool blend with a green silk-crepe and lace dress, and a shawl of purple and green Isle of Skye tartan, woven on the Island of Lewis.

The ensemble was inspired by the Scottish landscape and reflects the designer Sandra Murray’s interest in her Scottish heritage.

The matching hat, by the milliner Philip Somerville, is trimmed with a bow of the silk-wool fabric of the coat and curled dark-green feathers.

For the Commonwealth Heads of Government reception held at the Palace in 1997, Queen Elizabeth wore a silk evening dress designed by John Anderson.

The entire gown is covered with white, pink, gold and cream beads and sequins, embroidered on to the surface of the garment with gold thread.

In late June or early July each year, the Queen would stay at the Palace of Holyroodhouse during what was known as ‘Holyrood Week’, undertaking a series of engagements celebrating Scottish culture, history and achievement.

These included an annual Garden Party at the Palace for around 8,000 guests. For the Garden Party in 2017, Queen Elizabeth II wore a coat of white tweed fabric, highlighted with accents of pink, yellow and green within the weave, with a pink wool crepe day dress, both by designer Karl Ludwig van Rehse.

The ensemble is completed by a hat by Angela Kelly, which includes the tweed fabric accentuated by an upturned straw brim and is highlighted with floral embellishments.

The tours will conclude in the Sitting Room where the late Queen would work, reviewing the papers and documents presented in the Government red dispatch boxes, as well as using the room for private audiences or resting between engagements, often while watching horseracing on television.

Prince Philip was an enthusiastic collector of contemporary Scottish art and served as Patron of the Royal Scottish Academy of Art. Throughout the rooms, visitors will see highlights from his private collection, including works by 20th‑century Scottish artists, acquired over four decades at the RSA’s annual exhibitions and reflecting his deep appreciation of Scotland’s landscapes and wildlife.

The rooms are also furnished with a remarkable collection of furniture from the Royal Collection, made by the Edinburgh firm of Young, Trotter and Hamilton. The pieces were supplied to the Palace in 1796 in preparation for the arrival of Charles-Philippe, Comte d’Artois – Marie Antoinette’s brother-in-law and the future Charles X of France – who took refuge at the Palace during the French Revolution.

Emma Stead, Curator, Palace of Holyroodhouse said: ‘Queen Elizabeth II’s well-known love for Scotland will be given fresh context through this unique and special access to the private apartments, where visitors will enjoy a new perspective into both the formal and more informal use of Edinburgh’s royal palace.’

After their tour of Queen Elizabeth II’s private apartments, visitors can explore the rich history of the Palace of Holyroodhouse, including the magnificent State Apartments and the historic apartments of Mary, Queen of Scots, all included in the ticket price.

Glamorous Edwardians to be explored in major Edinburgh exhibition

The Edwardians: Age of Elegance

The King’s Gallery, Palace of Holyroodhouse

24 April – 6 December 2026

A glamorous, never-before-exhibited portrait of Queen Mary and a miniature sleigh made of rock crystal will be among highlights on show in Scotland for the first time in a major exhibition opening this spring.

The Edwardians: Age of Elegance will explore the glitzy world of two of Britain’s most fashionable royal couples – King Edward VII and Queen Alexandra, and King George V and Queen Mary – through their family connections, royal events, global travels and art collecting.

The exhibition will open in Edinburgh following a successful run in London and is the first Royal Collection Trust exhibition to explore the Edwardian era. It will bring together more than 150 items including fashion, paintings and books, as well as personal items such as jewellery, photographs and chinaware, more than half of which are on show in Scotland for the first time. Visitors will see works from the Royal Collection by many of the period’s most celebrated names, including Fabergé, Tiffany & Co,and Edward Burne-Jones, and depictions of famous faces including composer Sir Edward Elgar.

Curator Kathryn Jones said: ‘The Edwardian era was a golden age of glamour and parties, but it was so much more than that; it was a fast-paced period making great advances in technology.

Our royal couples wanted to make the most of it all, living lavishly and embracing new trends, before the sobering arrival of war. Throughout, they were collecting art as a way to hold onto tradition and capture the rapidly changing world around them. We hope that visitors to the exhibition will enjoy stepping back in time to this exciting period.’

In 1863, Queen Victoria’s eldest son Albert Edward married Princess Alexandra of Denmark. The marriage of the fashionable young couple – the future King Edward VII and Queen Alexandra – initiated a glamorous new era for the royal family, with Queen Victoria still in mourning and away from public life. Edward and Alexandra established a new, vibrant court filled with opulent balls, society events and contemporary art – a lifestyle continued by their son, the future King George V, and his wife Queen Mary.

Full-length portraits of the two Queens will open the exhibition, showcasing the spectacular fashions of the era. The portraits of Queen Alexandra by François Flameng, and Queen Mary by William Samuel Henry Llewellyn (which has never before been on public display) will be shown alongside marble busts of their husbands, Kings Edward and George. Both couples were fond of Scotland, with Edward having studied at the University of Edinburgh and George and Mary making regular visits and devotedly modernising the Palace of Holyroodhouse to make it once again suitable for royal entertaining.

Displays will evoke the interiors of the royal couples’ private residences, Marlborough House and Sandringham House, where the Edwardian fashion of filling every cabinet and covering every surface with small decorative objects or family photographs reigned.

A star object on display for the first time in Scotland is a paperweight shaped like a tiny 10cm-tall sledge with a figure lying on it by Robert Colquhon. Thought to have been Scottish, Colquhon was agoldsmith based in Russia who made small-scale decorative objects from rock crystal and silver of snowy subjects like sleighs and bears on ice floes. Edward and Alexandra collected several of his works – with one of his sleighs appearing in a photograph of Alexandra’s desk in Marlborough House in the 1890s.

Visitors will also learn of the relationships linking the family to the rest of Europe. Fabergé was introduced to the British royal family through Alexandra’s sister Dagmar, who had married Alexander III, Tsar of Russia. The royal patronage caused the popularity of Fabergé to soar in the UK, and on show will be 21 items from the firm, including an ornate picture frame holding a photograph of Princess Louise, Duchess of Fife; a cigarette case famously given to Edward by his official mistress Mrs Keppel; and six miniature figures of the royal couple’s favourite animals on the Sandringham estate.

As enthusiastic patrons of the arts, the Edwardians embraced new artistic movements including Art Nouveau and Arts and Crafts, and the burgeoning medium of photography.

Alexandra was particularly taken with the drawings of the Pre-Raphaelite artist, Edward Burne-Jones, whose study for a larger painting inspired by Sleeping Beauty will be on display. A soft-focus photograph of Alexandrabyphotographer Alice Hughes was typical of her pioneering yet delicate style, and both are on display in Scotland for the first time.

Garden parties formed an essential part of the Edwardian social calendar, with the first taking place at the Palace of Holyroodhouse during the much-anticipated visit of George and Mary in 1911. Danish painter Laurits Tuxen had been introduced to Queen Victoria through her daughter-in-law Alexandra, and his painting of a garden party at Buckingham Palace captures the spirit of the joyous occasion.

Contributions to society were also celebrated through the founding of the Order of Merit in 1902 to recognise prominent figures in cultural, scientific or military life. George commissioned a portrait of each recipient – a tradition that continues to this day – and drawings of Sir Edward Elgar and the physicist Sir J.J. Thomson by Scottish artist William Strang will be on display for the first time in Scotland.

The turn of the century saw great improvements to methods of travel, and the Edwardian royals travelled further than any previous members of the royal family – collecting and receiving gifts as they went. In February 1901, George and Mary set sail for 10 months on HMS Ophir to open the new federal parliament in Melbourne, Australia. To mark the occasion, the ‘Ladies of Adelaide’ gave Mary a richly embroidered silk hanging featuring a eucalyptus tree and local varieties of irises and orchids.

George and Mary visited the Palace of Holyroodhouse in July 1914, only a few weeks before the outbreak of the First World War. The glamour of the Edwardian era was being eclipsed by a serious atmosphere of duty – a sentiment led by the King, as Herbert Arnould Olivier’s study of King George V and Frank O. Salisbury’s painting The Passing of the Unknown Warrior, King George V as Chief Mourner, Whitehall attest. Collecting had now become a way to honour the many sacrifices made in the Great War; a more restrained and dutiful monarchy had emerged.

The King’s Gallery will continue to offer £1 tickets for visitors receiving Universal Credit and other named benefits. Other concessionary rates are available, including discounted tickets for Young People, half-price entry for children (with under-fives free), and the option to convert standard tickets bought directly from Royal Collection Trust into a 1-Year Pass for unlimited re-entry for 12 months.

Christmas arrives at the Palace of Holyroodhouse

VISITORS to the Palace of Holyroodhouse will see the State Apartments decked with glistening Christmas trees, garlands, and a magnificent table display to celebrate the festive season.

This year marks 100 years since King George V first opened the grand State Apartments to the public, providing the opportunity for visitors to explore the suite of 17th-century rooms in the monarch’s official residence in Scotland.

This festive period, visitors will see two majestic 12-foot-high Christmas trees decorating the atmospheric wood-panelled Throne Room, their branches adorned with sparkling ornaments and twinkling lights, alongside dramatic mantle garlands above the fireplace.

In the Great Gallery, the longest room in the Palace where grand balls were once held, a 15-foot-high Nordmann fir tree features glass ornaments echoing the room’s glittering chandeliers. This Christmas, visitors can take photographs in front of the tree as a special memento of their visit – usually photography inside the Palace is not permitted.

In the Royal Dining Room, first used as a dining room by Queen Victoria, the table is laid with a silver service, sugared fruits and seasonal foliage.

Further highlights include garlands decorating the stone arches in the Quadrangle and adorning the Great Stair.

As part of Royal Collection Trust’s charitable aim to ensure that as many people as possible can access and enjoy the royal residences, £1 tickets are available for visitors receiving Universal Credit and other named benefits. Further concessions, including discounted Young Person tickets for 18–24-year-olds, are also available.

The income from visitor admissions and purchases contributes to the care and conservation of the Royal Collection and helps Royal Collection Trust to share it with everyone, wherever they are.

Winter Exclusive Guided Tours

November and December

On select dates in November and December, exclusive guided tours of the State Apartments will reveal the magic of the Palace when it is closed to other visitors.

Festive Events

Carols at the Palace, 9 and 10 December

Over two evenings, visitors will experience the beautifully decorated State Apartments before a festive concert of carols in the Great Gallery. Each evening will conclude with a glass of wine and mince pies.

Christmas Activity Day, 13 December

The Palace will host a Christmas activity day with arts and crafts activities and a festive music performance for all the family to enjoy.

Drawings by Leonardo da Vinci, Michelangelo and Titian go on display in Scotland for the first time

A design by Leonardo da Vinci for a fantastical dragon costume is one of more than 80 drawings by 57 different artists that are now on display as part of the widest-ranging exhibition of Italian Renaissance drawings for over half a century in Scotland.

Drawings by Leonardo, Michelangelo, Titian and more are among 45 works going on display in Scotland for the first time as part of Drawing the Italian Renaissance at The King’s Gallery at the Palace of Holyroodhouse in Edinburgh.

Following a critically acclaimed showing in London, the exhibition explores the variety and range of drawings in this period, from preparatory studies for paintings and altarpieces to designs for sculpture and elaborate drawings which were made as gifts.

Drawings were often discarded after they had served their purpose, with only a small proportion surviving, but the works on display have been carefully preserved in the Royal Collection for centuries, allowing them to be enjoyed almost as vividly as when they were created.

Lauren Porter, curator of the exhibition, said ‘This is a remarkable opportunity to share so many of the Italian Renaissance drawings from the Royal Collection, with over half being shown in Scotland for the first time.

“As works on paper cannot be permanently displayed for conservation reasons, this exhibition offers a rare opportunity for visitors to view these drawings up close, giving a unique insight into the minds of the great artists who made them.’

Reflecting the continued importance of drawing today, the Gallery is hosting its first artist residency, in collaboration with Edinburgh College of Art.

Edinburgh-based artists Phoebe Leach and Dette Allmark, both alumni of the School, will respond to the masterpieces on display by drawing in the Gallery throughout the exhibition. Their creations will form a changing display for visitors, who are encouraged to take inspiration and try drawing themselves, with materials freely available.

A highlight work on display is an example of one of Leonardo’s anatomical studies drawn from a real-life dissection. The double-sided drawing which shows the muscles of a man was created in c.1510–11 and shows his detailed, personal notes in his left-handed ‘mirror-writing’.

Perhaps lesser known are the anatomical studies of Michelangelo, who reportedly conducted human dissections as a young man.

On display for the first time in Scotland is his study of a male torso in pen and ink, which was likely drawn from a wax model made by the artist, which shows his ongoing interest in human anatomy later in life. This can also be seen in his highly finished black chalk drawing of the resurrected Christ, with the artist capturing the energy of the muscular figure rising from his tomb.

Other striking figure studies on display include two works by Raphael: a vigorous drawing of Hercules slaying the many-headed Hydra, and a red chalk study of The Three Graces that was – unusually for the period – drawn from a nude female model.

Scenes from mythology were common subjects for Italian Renaissance artists and are well-represented in the exhibition. They include drawings by lesser-known artists including Paolo Farinati’s design for a fresco showing the goddesses of fruit and agriculture.

The drawing, which has not been on display before in Scotland, is inscribed with instructions for the artist’s assistants on the height of the figures, telling them they should be around three-feet-high but to ‘do it as you fancy when you are on the scaffolding.’

Other highlights on display include a drawing attributed to the Venetian artist Titian of an ostrich, believed to have been drawn from life, and Leonardo’s design for a dragon costume, which appears to house two men, in the manner of a pantomime horse.

A series of portrait drawings and head studies show therange of subjects, materials, functions and coloursof Italian Renaissance drawings.

The distorted and tormented face of a grotesque mask sketched by Michelangelo, possibly a design for a sculpture, contrasts with the classical features of Leonardo’s red and black chalk drawing of a curly-haired young man which is displayed nearby, with both works on show for the first time in Scotland.

After almost 120 hours of conservation work by Royal Collection Trust conservators ahead of the London exhibition, Bernardino Campi’s cartoon for an altarpiece of the Virgin and Child is on show for the first time in Scotland.

The cartoon, a large-scale drawing made of four pieces of paper joined together, was originally used to transfer the drawing onto a painting’s surface. The conservation work involved painstakingly removing the drawing from its deteriorating canvas backing and supporting sections where the paper had become as delicate as lace.

The Italian Renaissance saw the range and purpose of drawing greatly expand, resulting in some of the finest works of art in any medium.

Michelangelo’s meticulous drawing A children’s bacchanal marks a highpoint of Renaissance draughtsmanship and is in perfect condition, allowing us to see Michelangelo’s mastery of the art of drawing.

Following a successful launch in 2024, The King’s Gallery will offer £1 tickets for the exhibition to visitors receiving Universal Credit and other named benefits.

Further concessionary rates are available, including discounted tickets for young people, half-price entry for children (with under-fives free), and the option to convert standard tickets bought directly from Royal Collection Trust into a 1-Year Pass for unlimited re-entry for 12 months.

Two Edinburgh-based artists chosen for first residency at The King’s Gallery, Palace of Holyroodhouse

Royal Collection Trust has announced an artist residency in collaboration with Edinburgh College of Art (ECA) at The University of Edinburgh for the upcoming major exhibition Drawing the Italian Renaissance at The King’s Gallery, Palace of Holyroodhouse.

Artists Phoebe Leach and Dette Allmark, both ECA alumni, will be responding to the masterpieces on display and drawing in the Gallery throughout the exhibition’s run, with their creations forming a changing display for visitors.

The residency, which is the first at The King’s Gallery in Edinburgh, has been organised in partnership with ECA, a leading international art school within The University of Edinburgh that traces its history back to 1760.

Drawing the Italian Renaissance, which opens on 17 October 2025, will be the widest ranging exhibition of Italian Renaissance drawings in Scotland for over 50 years. Works by Leonardo da Vinci, Michelangelo, and Titian are among more than 80 works on display, with 45 drawings going on show in Scotland for the first time.

The residency programme will demonstrate how drawing remains a vital practice for artists today, just as it was for the artists of the Italian Renaissance.

Visitors to the exhibition will also be encouraged to take inspiration from the works on display and try their hand at drawing, with pencils and paper freely available in the Gallery.

For artist Phoebe Leach, who was raised in Lincolnshire and graduated from ECA in 2024, drawing has been critical to her work. As a painter and printmaker, she explores how people experience and interact with the world around them, with drawing allowing her to shed light on often unseen spaces.

Since October 2024, Phoebe has been documenting the work of the Department of Clinical Neurosciences at the Royal Infirmary of Edinburgh.

Drawing brain surgeries and operations from life, she has created a unique record of the unit’s surgical activities and the experiences of patients (above).

Phoebe Leach said: ‘It’s a real privilege to have the opportunity to be a part of this residency so early in my career, just a year after graduating.

“I’m looking forward to spending time with the works in the exhibition – studying the techniques of the Old Masters to refine my own technical drawing skills, while also creating contemporary interpretations in response.

“Most of all, I’m excited to record the activity of visitors and their interaction with the exhibition to create live response drawings in the Gallery space.”

Dette Allmark, who graduated from ECA with a degree in Tapestry in 2000 and a Master’s in Illustration in 2022, as well as spending a year at the Royal Drawing School in 2007, is an established artist, illustrator and writer who has been a long-term resident of Edinburgh.

Drawing forms the basis for all Dette’s work, but it has increasingly grown in importance for her as an art form in its own right.

It provides a way for her to process the world around her to make sense of her life and experiences, with much of Dette’s work exploring the narratives, myths and archetypes that surround women.

Dette is currently a visiting artist to Scottish Opera in Glasgow, observing and drawing from rehearsals and live performances.

Dette Allmark said: ‘The characters and worlds created by the Renaissance artists not only capture beauty, ignite awe and tell stories but also allow us to see that these artists scrutinised their world, the imagined world and its characters to understand more about themselves, humanity and spirituality.

“I draw to make sense of my experiences, and I hope the visitors will be inspired to revisit what it is to play with a pencil, lay their judgement aside and conjure up a visual world that is uniquely theirs.’

Professor Juan Cruz, ECA Principal, Edinburgh College of Art, The University of Edinburgh said: ‘We’re thrilled that alumni of Edinburgh College of Art will be involved in this landmark exhibition, bringing some of the greatest works of the Italian Renaissance to Scotland for the first time.

“Drawing, in many guises, continues to be a vital part of creative practice, and this residency offers a unique opportunity for our graduates to engage with these historic works in a live public setting. We look forward to seeing how they interpret and respond to the collection through their own creative lens.’

Lauren Porter, Senior Curator of Works on Paper and curator of the exhibition, said: ‘We are delighted to have Phoebe and Dette as the first artists in residence at The King’s Gallery in Edinburgh.

“Drawing was fundamental to the Italian Renaissance and the residency will show its continued importance while offering both artists the time to engage with and respond to the works in their own unique way. We hope that visitors will not only enjoy seeing the artists at work and their drawings on display, but also feel inspired to pick up a pencil and try their hand at drawing.’

Highlights of the exhibition’s accompanying programme of events will include a Gallery Late with music, crafts, and drop-in talks, and family workshops which will explore the exhibition through yoga, storytelling, and drawing.

The two artists in residence will take part in family and community group events, while also on select days offering drop-in support, advice and discussion on drawing in the Gallery.

Edinburgh’s royal community garden celebrates five years and hundreds of educational visits

A public garden at the end of the Royal Mile is celebrating its fifth anniversary, having welcomed thousands of visitors and engaged hundreds of local children and adults in events and workshops since it opened in 2020.

The Physic Garden at the Palace of Holyroodhouse, located just outside the monarch’s official residence in Scotland, is a free-to-visit garden that can be enjoyed year-round by the people of Edinburgh and visitors to the Palace. Its fifth anniversary will be marked by an episode of the longstanding BBC Scotland gardening programme Beechgrove Garden, airing this week.

The Physic Garden is located beside the Palace’s Abbey Strand Learning Centre, and over the past five years, more than 360 pupils from schools both local and further afield have taken part in educational sessions, with children learning how plants were used historically as remedies to improve health and wellbeing.

A further 400 ethnobotany students, members of community gardens and nature-lovers of all ages have taken part in guided visits and events, reviving the garden’s centuries-old original purpose of teaching the medicinal properties of plants.

The Physic Garden was opened in 2020 to recreate some of the earliest recorded gardens in the Palace grounds, with three distinct sections each representing different periods in the Palace’s 900-year history.

Raised beds of herbs, flowers, and other useful plants reimagine the physic garden that was established in the Palace grounds 350 years ago by the doctors Sir Robert Sibbald and Sir Andrew Balfour, two founding members of the Royal College of Physicians of Edinburgh.

Created in 1670 to teach students about the medicinal properties of plants and to provide pharmacists with fresh medicinal ingredients, the Palace’s original physic garden was the first of its kind in Scotland and the forerunner to the Royal Botanic Garden Edinburgh.

The new physic garden contains medicinal and culinary plants that would have grown in the 17th-century garden, including fennel – once used to aid eyesight and as an antidote to poisonous mushrooms – and lavender, bergamot and lemon balm, used for scents, dyes and insecticides.

A flowering meadow of medicinal plants including daisies, previously used for coughs, and mallows, an old treatment for scurvy, evokes the 15th-century monastic gardens of Holyrood Abbey, once one of the grandest medieval abbeys in Scotland, the ruins of which can still be seen today on a visit to the Palace.

The third area delights in late winter and spring with crocuses and tulips planted in geometric patterns, typical of 17th-century gardens. With such a variety of plants and styles, the garden has year-round appeal for locals and visitors curious to learn about local history and historic natural remedies.

Abbey Strand gardens Palace of Holyroodhouse Edinburgh.Photograph David Cheskin.

Chris Walker, Learning Manager, Royal Collection Trust, said: ‘The Physic Garden is an oasis at the end of the Royal Mile, providing a welcoming green space in the city centre where locals and visitors alike can get outside, enjoy nature and learn some fascinating local history.

‘We are delighted that almost 800 people have taken part in exciting activities where nature, science and history meet, in addition to the countless others who enjoy this free community garden every day. Like our forebears 350 years ago, we understand the benefits of spending time in nature for our physical and mental wellbeing, and we hope the garden can be enjoyed for many more years to come.’

Tying in with the anniversary, BBC Scotland’s Beechgrove Garden paid a visit to the Physic Garden, with its presenter and gardener George Anderson retracing the garden’s history alongside Emma Stead, Curator at the Palace of Holyroodhouse, and Johanna Lausen-Higgins, Garden History Lecturer at the Education department of the Royal Botanic Garden Edinburgh.

In the episode, which will air on BBC Scotland and BBC Two from Thursday, 17 July onwards (Monday 21 July, 14:00 on BBC Scotland, Thursday 24 July, 06:45 on BBC Two) , Anderson discovers the historic uses of the medicinal and culinary plants still growing in the garden today, including Lady’s Bedstraw (Galium verum), used in the past to repel ticks and lice in bedchambers.

He also views a rare copy of the Hortus Medicus Edinburgensis from the Royal Botanic Garden Edinburgh’s archives – a catalogue of the 3,000 plants growing in the Physic Garden in the 1680s.

Physic garden Abbey Strand building Holyroodhouse,Edinburgh.Photograph David Cheskin.29.09.2020.

Royal Collection Trust will offer a programme of events and school sessions in the Physic Garden celebrate the anniversary:

Flower Arranging Workshop

24 July 2025, 09:30–12:00

After a tour of the garden’s flowers, florist and Royal Warrant holder Lottie Longman will show participants how to harvest foliage from the wildflower meadow to create a bouquet to take home.

Floral Wreaths Workshop

3 September 2025, 09:30–12:00

After a tour of the Physic Garden, Lottie Longman will teach participants how to create beautiful wreaths of freshly picked flowers, which can be dried naturally at home.

Plants, Painting and Potions Schools Session

Available for schools to book in termtime, 1 hour

In this outdoor learning session, pupils will learn how the canons of Holyrood Abbey lived 900 years ago, growing flowers, herbs and vegetables to eat and concoct natural remedies. Children will learn how to use quills and gather flowers, leaves and twigs to make and record their own remedy.

Holyrood’s Herbal Hospital Schools Session

Available for schools to book in termtime, 2 hours

School groups will learn how Holyrood Abbey’s medieval canons grew medicinal plants to help and heal their local community, before hearing the story of the two 17th-century Scottish doctors who created the Physic Garden and making their own traditional remedy. The visit includes access to the Physic Garden, the Palace of Holyroodhouse Gardens, Holyrood Abbey, and the Abbey Strand Learning Centre.

Learning Resources

Free learning resources including worksheets and scavenger hunt trails are available to download for all schools and visitors to the garden.

Widest-ranging exhibition of Italian Renaissance drawings in 50 years to be staged in Edinburgh this autumn

Drawings by Leonardo da Vinci, Michelangelo and Titian will be among 45 Italian Renaissance drawings going on display in Scotland for the first time this October, as part of an exhibition featuring more than 80 drawings by 57 artists – the most wide-ranging show of its kind in Scotland in over half a century.

Following a successful run in London, Drawing the Italian Renaissance will open at The King’s Gallery at the Palace of Holyroodhouse in Edinburgh on 17 October 2025. The exhibition will explore how drawing was key to artistic practice in all fields during the Italian Renaissance and will reveal how dynamic the art of drawing became during this revolutionary artistic period.

Lauren Porter, curator of Drawing the Italian Renaissance in Edinburgh, said: ‘The Royal Collection holds one of the finest collections of Italian Renaissance drawings, many of which were acquired during the reign of Charles II.

“The drawings cannot be on permanent display because of their sensitivity to light, so this exhibition offers a rare and exciting opportunity for visitors to see a wide variety of works from this great collection, many of which are on display in Scotland for the first time.

“Drawings were fundamental to the art of the Renaissance, allowing artists to conceive and explore ideas, refine their designs and to experiment. Being able to view these drawings so closely will give visitors a unique insight into the minds of these great Italian Renaissance artists.”

The exhibition will highlight the continued relevance of drawing today as an essential part of many artists’ practice. Two Artists in Residence, both alumni of Edinburgh College of Art and appointed in collaboration with the School, will be drawing in the Gallery on selected days throughout the exhibition’s run.

Visitors to the exhibition will also be encouraged to take inspiration from the works on display and try their hand at drawing with pencils and paper available in the Gallery.

Most drawings from the Italian Renaissance were created as preparation for projects in a variety of media, from paintings and prints to architecture, sculpture, metalwork, tapestry and costume.

They were often discarded after they had served their purpose, and only a small proportion have survived to the present day. As the drawings in the Royal Collection have been carefully preserved for hundreds of years, they can be enjoyed almost as vividly as when they were created.

The oldest drawing in the exhibition, in which an unknown artist depicts a young man sitting and drawing with a sleeping dog by his side, is around 550 years old and will be exhibited in Scotland for the first time.

Also on display for the first time in Scotland will be an elaborately worked drawing in red and black chalk on red prepared paper of the curly-haired head of a young man by Leonardo da Vinci, and Federico Barocci’s drawing of The head of the Virgin in delicately blended colourful chalks.

The idealised features of these two head studies contrast with the distorted and tormented facial expression of the grotesque head drawn by Michelangelo which will be displayed nearby.

Many drawings in the exhibition are religious in their subject matter, including Raphael’s Christ’s Charge to Peter, which is one of his designs for a tapestry to be hung in the Sistine Chapel, and Michelangelo’s The Virgin and Child with the young Baptist, which may have been created as a preparatory study for a sculpture or perhaps as a private act of devotion.

On display for the first time in Scotland, following extensive conservation work before the London exhibition, will be a cartoon for an altarpiece of the Virgin and Child by the late-Renaissance artist Bernardino Campi.

Cartoons, which were large sheets of paper used to transfer a final design onto a painting’s surface, were often executed on poor-quality paper and were never intended to be kept – let alone displayed.

It took almost 120 hours of conservation work by Royal Collection Trust conservators to prepare the work to be exhibited, which involved painstakingly removing the drawing from its deteriorating canvas backing and supporting sections where the paper had become as delicate as lace.

The exhibition includes many preparatory drawings for the applied arts. These drawings would be used by specialist craftsmen to translate the artist’s design into another medium. Included in the exhibition is a colourful design for a painted wooden ceiling incorporating the scene of David slaying Goliath by an unidentified Roman artist, and an extravagant and asymmetrical 1.36-metre-high design for a candelabrum which features a riot of different motifs – presumably acting almost as a menu, from which a patron could select the elements he liked the most.

A section of the exhibition will examine how Italian Renaissance artists observed and explored the natural world, from a study of a branch of a blackberry bush by Leonardo da Vinci, capturing the vigorous nature of the bramble’s growth, to a drawing attributed to the Venetian artist Titian of an ostrich, believed to have been drawn from life, perhaps when the animal arrived after being imported into the port city as an exotic curiosity.

As well as works by the most famous names of the Italian Renaissance, the exhibition will give visitors an insight into the work of lesser-known artists who produced some of the finest drawings of the period.

Many of these works have never been shown in Scotland before and include a striking charcoal portrait of the head of a youth, which has been attributed to Pietro Faccini, and the imposing pen and ink drawing of a seated St Jerome by Bartolomeo Passarotti.

Following a successful launch in 2024, The King’s Gallery will continue to offer £1 tickets to this exhibition for visitors receiving Universal Credit and other named benefits.

Palace of Holyroodhouse lit up for Christmas

From today, visitors to the Palace of Holyroodhouse will see the State Apartments decorated with magnificent Christmas displays.

A highlight this year is the wood-panelled Throne Room, which has been decorated with two 12-foot-high Christmas trees and a sparkling mantle garland.

A glistening 15-foot-high Nordmann Fir tree and two decorated mantelpieces create a festive atmosphere in the storied Great Gallery, while in the Royal Dining Room visitors will see a spectacular table display.

Family tours of the Palace of Holyroodhouse’s Physic Garden available for the first time this summer

Over the summer holidays, as the Palace of Holyroodhouse opens for seven days a week, visitors can discover over 900 years of Scottish royal history. Families can join tours of the Physic Garden for the first time, get their hands on history, and try out arts and crafts activities inspired by Georgian fashion.

Physic Garden Family Tours

Friday, 19 July and Friday, 2 August, 10:00, 11:00 and 12:00.

For the first time, families will be able to join free short tours of the beautiful Physic Garden at the height of summer. On these guided, drop-in tours, which are open to visitors to the Palace and the wider public, families can discover more about the history of the Garden and listen to stories of its past plants and the people who used it.

The Physic Garden, just outside the gates of the Palace, was opened in 2020 to recreate the earliest known gardens on the site and can be freely enjoyed year-round by the people of Edinburgh. Founded in the grounds of the Palace in 1670, the original garden provided pharmacists with vital, fresh ingredients and allowed students to learn the medicinal properties of plants. It was the first of its kind in Scotland and was the forerunner of the Royal Botanic Garden Edinburgh.

Magical Menagerie Activity Day

Saturday, 27 July, 10:00–15:00.

In July a special activity day will offer the chance for visitors to learn about the history of the Palace Gardens, where 500 years ago a medieval menagerie was home to a range of animals including lions, tigers and bears.

Children can craft paper masks of their favourite animal to wear as they explore the Palace and Gardens, keeping an eye out to spot the animals around the Palace on ceilings and walls, or in tapestries and portraits.

As well as exotic animals, the Gardens were home to a tennis court and used for bowls, hawking, archery, and other outdoor games. On the activity day, families can try some historic games in the garden as well as following the unicorn activity trail to spot all the places where Scotland’s national animal decorates the walls and artworks around the Palace and Gardens.

Weekly Family Activities

Hands on History, every Monday (Monday, 8 July – Monday, 26 August) and Midweek Makes, every Wednesday (Wednesday, 10 July – Wednesday, 28 August). Both 11:00–15:00.

Families visiting the Palace can take part in special activities every week. Every Monday, in Hands on History sessions, children will be able to get up close to a mix of historical and replica items including gauntlets, ink wells and quills and more. Children can learn about the many objects in the Royal Collection and discover the intriguing items that would have been used in the Palace hundreds of years ago.

Every Wednesday, visitors can join arts and crafts activities in the family room. In Midweek Makes, children can decorate their own crown while learning about the history of different crowns in the Royal Collection, including who wears them and what they are used for.

Recycled Fashion: Family Workshop

Saturday, 10 August, 13:30–15:00.

Families can also visit The King’s Gallery at the Palace of Holyroodhouse to see Style & Society: Dressing the Georgians. The exhibition explores life in Georgian Britain through the fashions of the day. Items on display include rare surviving items of clothing such as a court dress and items of Queen Charlotte’s impressive jewellery collection. In the exhibition, families can use the family gallery trail and explorer bags to discover what life was like in Georgian times.

In the Recycled Fashion workshop, families will join a short, guided tour of the exhibition led by a member of the Learning team. They can discover how the practice of reusing and recycling fabric in the Georgian period was commonplace even among the royal family. Taking inspiration from the examples of Georgian clothing on display, they will then create a cloak using recycled materials.

As part of the organisation’s charitable aim to ensure that as many people as possible can access and enjoy the Palaces and the Royal Collection, Royal Collection Trust has launched a scheme of £1 tickets, available to those receiving Universal Credit and other named benefits.

The £1 ticket offer is available for up to six people per household when visiting The King’s Gallery in 2024, making this an affordable way for families to visit the Gallery during the summer holidays.

Rare surviving Georgian fashions and majestic paintings go on display as The King’s Gallery reopens

A sword made for George IV’s historic visit to Edinburgh and other rare surviving items of Georgian clothing are among almost 100 works from the Royal Collection are now on show as part of Style & Society: Dressing the Georgians.

It is the first exhibition to open at The King’s Gallery at the Palace of Holyroodhouse, formerly known as The Queen’s Gallery, following an 18-month closure for essential maintenance work.

Throughout the exhibition, the fashions recorded in portraiture are used as a lens to explore the many social, political and technological changes that characterised Georgian Britain. Paintings, prints and drawings by artists including Gainsborough, Zoffany and Hogarth are accompanied by a selection of clothing and accessories to tell the story of fashionable dress from George I’s accession in 1714 to the death of George IV in 1830.

Style & Society: Dressing the Georgians takes a closer look at George IV’s 1822 visit to Scotland, the first by a reigning monarch in almost 200 years.

Visitors will see the set of accoutrements specially supplied to the King for the visit by George Hunter & Co, purveyors of Highland dress based on Princes Street in Edinburgh, including an ornate broadsword, made of blued steel inlaid with gold and decorated with Scottish emblems, a belt and a dirk.

Also on display is a full-length portrait of George IV by Fife-born artist Sir David Wilkie, showing the monarch in Royal Stewart tartan and wearing the accoutrements.

The growing textile industries presented artists with fresh challenges as they strived to depict the latest fabrics. A rarely displayed, full-length portrait by Thomas Gainsborough of Queen Charlotte is paired with an embellished Indian muslin sacque gown on loan from Historic Royal Palaces, a close match in shape and style to the delicate white dress that glitters with silk netting and tasselled bunches of gold lace in Gainsborough’s painting.

An essential fabric for centuries in Britain, linen was used in a variety of ways in items from washable undergarments to delicate lace, and even shoes, as demonstrated by a pair of baby shoes which belonged to Princess Charlotte, George IV’s only child.

The age of Enlightenment saw ideas about childhood evolve, and this materialised in childrenswear becoming more comfortable and practical. Benjamin West’s portrait of three-year-old Prince Octavius, the 13th child of George III and Queen Charlotte, shows him wearing a skeleton suit – a new style of children’s dress inspired by the functional clothing of working-class sailors. With a toy horse on the floor behind him as he carries his father’s cavalry sword, displayed nearby, it is as if the young prince is pretending to be a hardworking king.

Clothes and undergarments such as bonnets and stays were used to teach children good posture or provide protection. An embroidered bonnet thought to have been worn by Princess Charlotte is on display for the first time after being bequeathed to the Royal Collection in 2022 by a descendant of the then young Princess of Wales’s Preceptress (teacher), Miss Mary Hunt.

All four Georgian monarchs took great interest in military clothing, and the 18th century saw a proliferation of uniform styles.

A preliminary work by Sir Joshua Reynolds of Lord Eglinton, a respected military leader and patron of Robert Burns, demonstrates the finesse of 18th-century portraiture, with headdress feathers appearing to flutter in the Highland breeze.

A deep blue uniform jacket designed by George IV and captured in the monarch’s portrait by Sir William Beechey shows first-hand the richness of military dress.

Georgian jewellery was often highly personal, and much like clothing, was regularly repurposed – even by the royal family. Pearl-adorned buttons from a dress coat belonging to George III were reused to create an eye-catching necklace for the Duchess of Clarence, later Queen Adelaide, shown alongside items of Queen Charlotte’s impressive jewellery collection.

Anna Reynolds, curator of Style & Society: Dressing the Georgians, said: ‘The 18th century was an incredibly innovative period, and the Georgians were responsible for ushering in many of the cultural trends we recognise today.

“From the rising influence of practical working-class dress to the practice of recycling and reusing fabric wherever possible, fashion from this period tells a broader story about what was happening in society.

“It is fascinating just how much we can learn from the paintings, clothing, and accessories on display. And, thanks to our new scheme of £1 tickets, we are looking forward to sharing it with as many people as possible.’

Following a successful run in London, Style & Society: Dressing the Georgians at The King’s Gallery, Palace of Holyroodhouse is the first Royal Collection Trust exhibition to offer £1 tickets to visitors receiving Universal Credit and other named benefits.

The King’s Gallery will also continue to offer concessionary rates, including reduced tickets for Young People, and the option to convert standard tickets bought directly from Royal Collection Trust into a 1-Year Pass, allowing free re-entry for 12 months.

An accompanying programme of events at The King’s Gallery includes:

Style Natters: Free short talks for visitors will be held weekly on Thursdays at 11:00, each taking an in-depth look at a work of art in the exhibition.
Powder and Pomade: Exhibition curator Anna Reynolds will give a lunchtime lecture on Friday, 3 May on 18th-century wigs and hairstyles, an essential aspect of Georgian style.
Dressing Children in the 18th Century: Assistant Curator Lucy Peter will give a lunchtime lecture on Friday, 21 June exploring new ideas around childhood in the Georgian period, including attitudes towards education and the importance of playing outside.
Recycled Fashion: Family Workshop: The King’s Gallery’s Learning team will hold a fun family workshop on Saturday, 10 August exploring embroidery and other fashions in Georgian Britain. Children will have the chance to create a cape inspired by the exhibition, using recycled paper materials.