Pirrie’s Close Artwork

Edinburgh's Old Town is probably best defined by the iconic Royal Mile, and the Royal Mile is defined by its 'fishbone' layout. Walking along this main thoroughfare, one of my favourite things to do is checking out its many closes, the 'bones' to the Royal Mile's 'spine'. Of these, Pirrie's Close has turned out to be one of the most surprising.

The artworks that decorate this close are cutouts made out of metal and painted black, part of a 2021 project from the team of Chris Dobson as architect, illustrator Astrid Jaekel and project lead/designer Isla Munro. More than just decoration, they tell stories of both ends of the close, their inhabitants and histories. These are explained on information sheets, where the artworks on both wall and ceiling are numbered.

Those on the pictures above are considered to be the first and second if entering from the Canongate end of the Royal Mile, depicting an Edinburgh cityscape and a pattern of keys, which are related to the story of Deacon Brodie. Cabinet maker and all-around high-society member William “Deacon” Brodie has become infamous for his 18th century double life, using his work and locksmithing skills to burgle the homes of many of his customers and peers.

The first and second overhead panels continue on the topic of crime. The first also features the keys motif, along with a pair of scissors, celebrating local hairdresser Charlie Miller, who would go on to make a name for himself with celebrity clientele and launching a haircare franchise. The second features pinching fingers and handbags, related to a period of pickpocketing in the area.

These handbags, lookful eyes and a lamp are repeated on the fourth wall panel. The third panel was unfortunately installed upside-down, but its imagery is still recognisable as snowdrops and sombreros, honouring a beloved and now-gone Mexican restaurant as well as the area's springtime flora.

Wall panels five and six relate to childhood, particularly the schools of the area. The word “school” is spelled out in BSL at the bottom, since one of the UK's first schools for deaf children used to be located nearby. “Bad as blacking, good as gold” is a phrase that would appear on a wheel of fortune game during fairs held by these schools. Since children were prohibited from playing ball games here, shuttlecocks represent badminton as one of their alternatives.

With the appearance of a fox, owl and beetles on the seventh and eighth wall panels, plenty of plant life, plus a cat alongside the shuttlecocks on the third overhead panel, this section begins a focus on the natural world. Both a cat and owl appear in a work carved by a chainsaw sculptor out of the trunk of a nearby tree that was felled, with a local tabby also being paid tribute to as she was very popular due to her friendliness with people.

Wildlife like foxes and beetles are often spotted in the surroundings, particularly near the heart-shaped ivy which is one of the most photographed features of Chessel's Court, on the other end of the close.

Overhead, the heart makes a reappearance along a pair of lovebirds, with tadpoles and frogs on the 9th wall panel. The 10th and final wall panel, at the Chessel's Court end, depicts some graffiti on nearby walls, with letters that are likely students' initials, and numbers that fit the dates of the deaf school.

After having seen all the panels, I enjoyed taking a look back and seeing the entire enclosed area of Pirrie's Close with its wealth of art and storytelling. It is a great sight both during day and nighttime, with its dramatic multicoloured lighting. There is much more to discover in Edinburgh's closes, but Pirrie's does hold a special place thanks to its community involvement and the way it focuses on hyperlocal features.