The Con O’Neill bridge crosses the Knock river just before it meets the Loop river to form the Connswater, which used to be Con’s water, and provided a way for “men, horses and livestock to cross the river” (Con O’Neill).
The mural depicting such a crossing, by Friz (ig), is on a gable wall in the car park next to the bridge; the area is now known as The Hollow, as in “Hey, where did we go?/Days when the rains came/Down in the hollow/Playin’ a new game.” (For an image of bridge partially submerged and impassable in 2012, see Geograph | more images at Google Maps Places.)
Con lived c. 1600 but the bridge might well pre-date that time. It was refurbished as part of the Connswater Greenway project in ?2014?.
The first printing press in Belfast belonged to James Blow and his brother-in-law Patrick Neil in 1694 (DIB | Dublin Penny Journal gives 1696 | Mary Lowry Story Of Belfast gives 1690); a run of 8,000 Bibles is said to have been printed in 1751, one of which is part of the Linen Hall Library’s collection on Early Ulster Printing (RASCAL).
In 1895, Carswell & Sons opened a print-works and book-binders in a warehouse running with frontage in Queen Street and a rear in College Court (the building is now a bingo hall – see Kelly’s Eyes) which is currently being renovated as an office block (Bel Tel) – some of the scaffolding in College Cour can be seen in the later images in We Built This, the street art festival for International Women’s Day, 2023.
To complement those festival pieces, the mouth of College Court has been given a make-over, with work by Peachzz (ig) (above) and lettering by Woskerski (ig) that both draw on the street’s association with printing. If you know who did the “bookbinding” piece, please get in touch.
Previously on either side of College Court there were two pieces by Friz: Fox and Hare.
The bonus image, of a man leaning against the newsagent’s wall, is on the corner with Castle Street.
The old Smithfield Market was fire-bombed in 1974 (gallery of 10 images at the Tele), quickly rebuilt with wood, and replaced permanently in 1986. The mural of the old market was painted by KVLR and JMK.
The old Ballymacarrett station was the last stop before Belfast when travelling from points east such as Holywood and Bangor. On the morning of January 10th, 1945, a faulty signal caused the 7:10 from Bangor to be halted at Ballymacarrett, only for it to be hit from behind by the oncoming 7:40 from Holywood. The steel lead-car of the Holywood train ploughed through the whole of the last carriage’s wooden coachwork and on into the penultimate carriage, causing the death of 22 people and injury to another 27 (WP).
Michael Blakstad’s Children In Crossfire is a justly famous documentary portraying the lives of children in Creggan (Derry) and various areas of Belfast, such as Ballymurphy & Springmartin, Divis, and the area around Gawn Street in east Belfast. The documentary is on youtube and an image from it (c. 28m 13s) is depicted in this mural at the foot of the Dee Street overpass into what is now the “Titanic Quarter”.
The panel to the right (in the wide shot, below) shows the original Armitage Street; the area has been redeveloped and the street was built over with a cluster of houses named Armitage Close.
By Dee Craig with support from the Housing Executive, City Council, and Connswater Homes.
Here are three new pieces above the security gates on Northumberland Street, coving over the “Deserted! Well, We Can Stand Alone” graffiti in the last remaining spot on the wall without a mural. From left to right:
Arthur Guinness: “Black Protestant Porter” as a description of Guinness stems from Arthur Guinness’s opposition to the 1798 rebellion (Indo). The Union Star (newspaper in Belfast – A Planet Of Light And Heat) called Guinness a spy and advised that “United Irishmen will be cautious of dealing with any publican who sells his drink.” (An Phoblacht).
Gusty Spence, a former commander of the UVF, read out the ceasefire statement of the “Combined Loyalist Military Command” (UVF, RHC, and UDA): “Let us firmly resolve to respect our different views of freedom, culture and aspiration and never again permit our political circumstances to degenerate into bloody warfare – Gusty Spence, loyalist ceasefire [statement in full], 13 October, 1994.”
“Welcome To The Shankill Road – we are proud, resilient, welcoming”: The original ‘three hands’ was on Northumberland Street, just above this spot – see Proud, Defiant, Welcoming – which was then reproduced in reduced form in Gardiner Street – see Welcome To The Shankill Road.
This is the most conciliatory statement ever made by loyalism and the decision to put it on Northumberland Street, especially in the context of the internationally famous and associated-with-Ireland Guinness and the “welcome” mural, suggests that the trio is directed at tourists rather than locals.
Memorial boards to Queen Elizabeth have been added to the ‘our community transformation’ board and community garden in Old Warren.
An image of the old “You are now entering loyalist Old Warren” display that is shown in the ‘before’ side of the board above is included below. On the ‘after’ side are the youth centre, the new houses at the top of Drumbeg Drive, and the Lagan View enterprise centre. For a brief history of the area, see Through Your Eyes.
The previous board on this wall – a UDA B Company board – can be seen in C02674 and its predecessor in M05916.
“You are the future” is the message from Long Tower Youth & Community Centre (Fb) to young people in the Brandywell. Sporting heroes of the past, especially boxing and soccer (for a mural of local clubs, see I Don’t Like Mondays) are featured in black and white.
The city of (London)Derry takes its named from the Irish word “doire” meaning “oak wood” (and generically a “grove”) and the oak leaf is often used as a symbol of the city (here are 11 murals with oak leaves from the Peter Moloney Collection – Murals). In the mural above, in addition to the three leaves on the right-hand side, we also have some acorns.
The moniker “maiden city” is derived from the city’s resistance to sieges throughout its history, most famously in 1689 (again – a variety of images from Peter Moloney). The walls of the old city are shown above the river Foyle, with landmark buildings such as the Peace Bridge (see Waterside, Cityside, Quayside) behind them.
Graffiti-art by Inkie (ig) in Carlisle Road, Derry. The second piece, which shows two hands planting seeds in the ground (artist unknown) is at Butcher Gate.
“Everyone has oceans to fly, if they have the heart to do it. Is it reckless? Maybe. But what do dreams know of boundaries?” When she left Harbour Grace, Newfoundland, on the evening of May 20th, 1932, Amelia Earhart’s intended destination for the first solo trans-Atlantic flight by a woman was Paris, France, but after various mechanical difficulties she landed instead in Ballyarnett, just outside Derry. For the 90th anniversary of her history-making flight, the artwork above was created by Joe Campbell (web), commissioned “by Community Restorative Justice in partnership with Derry & Strabane Distict Council’s Good Relations Programme and with the assistance of Greater Shantallow Community Arts.”
For the mosaic already mounted in 2010, see Flying Solo.
