ART may be long and life short but, on their 70th anniversaries, the Edinburgh Festivals remain in an eternal prime. Even at its birth in 1947, the Edinburgh International Festival had the air of a grand old dame, while the Fringe might be characterised (unfairly) as the upstart nephew.

The Fringe may appear more edgy, with unsettling acts like Alex Salmond, but in truth the lines between the two festivals have grown more blurred. They’re part of one big family. Beyond that family, a myth persists that residents of Scotland’s capital like to keep their distance. But in truth many thousands attend the shows and enjoy the street performances.

And all acknowledge that the festivals, which got under way yesterday, bring prestige and revenue to the city. Foreign visitors supply much of that, and the weak pound has led to cheaper tickets and hotels for many. Visitors and residents alike may be aware of heightened security, with anti-terror barriers, CCTV cameras and a visible police presence. In 1947, two years after a world war, the city felt safe. Today, we live under the threat of a different kind of war, one with a sinister penchant for attacking places of enjoyment. That produces a slightly disorientating need for vigilance. But it just means being a bit more careful. The welcome will still be benign, the atmosphere heady, the celebrations joyous and long.