“At the going down of the sun and in the morning, we shall remember them.” The fence at the back of the Belvoir Somme Association’s Victoria Cross memorial garden on along the Newtownards (at the old Newcastle Street) has been replaced with a wall and the poppy wreath on the left (above) has been joined by a mural in memory of the Somme dead and the Victoria Crosses awarded to the 36th Division “For Valour”.
This is a new UDA mural in memory of John Gregg, “The Reaper”, who waged a campaign of terror against Catholics in south-east Antrim and was reputedly associated with British neo-Nazi groups. Gregg was gunned down in 2003, while returning from a Rangers match, as part of the power struggle with Johnny Adair.
Nearby red-white-and-blue poles on Knockenagh Ave, Newtownabbey, are also shown.
The Tullycarnet Flute Band mural on the electrical sub-station in Lochinver Drive, Tullycarnet, as been repainted/touched up (compare to 2013).
The plaques read: “In memory of Steven Dawson (Big Penny). Gone but not forgotten. A light shone in the night”, and “In memory of Joseph Baxter Corry (Joe). Gone but not forgotten. You’ll always be in our hearts. Farewell our absent friend.”
Here is a selection of stencils and small boards from anti-Agreement groups in Newry. “Stop strip searching of republican prisoners!”, “#JFTC2“, “Smash Stormont – Join RNU”, “End internment 1971-2013”, “Stop the Maghaberry strip searches”.
Camlough Road, Main Avenue, and Railway Avenue, Newry
The murals along east Belfast’s “Freedom Corner” (on the Newtownards Road) were repainted over the course of several months in 2015. These images are from a variety of dates in July and August; the ‘red hand’ piece is incomplete – for the finished work, see The Strangest Victory In All History.
The new pieces reproduce the previous ones in terms of theme: UFF/Young Newton at the ends, with the Past (Specials and UDR) and Present Defenders (UDA) in the middle – compare with the 2009 entries Freedom Corner | Ulster’s Present Day Defenders | Young Newton.
Genesis 35:11 reads (NIV) “And God said to him, “I am God Almighty; be fruitful and increase in number. A nation and a community of nations will come from you, and kings will be among your descendants.” The flags of Northern Ireland, Scotland, Wales, and England are joined in the mural above by those of Australia and (a simplified version of) the Falkland Islands (on the left) and New Zealand and Canada (on the right). The flag flying in the centre is the Royal Standard, flown on the building or vehicle where the monarch is.
The adjacent mural of army badges around a burial scene from the first world war features some lesser-seen items. On the left, alongside the Royal Irish Rifles (top left) and the (modern-day) Royal Irish Regiment (at the time of WWI the harp was plain and there was no garland), we see the emblem of the North Irish Horse, a cavalry unit in the Territorial Army. On the right, the emblem of the Royal Irish Rangers (which was folded into the Royal Irish Regiment in 1992) is joined by the star of the Irish Guards (above) and the emblem of the Ulster Special Constabulary or B-Specials (below). Only the Royal Irish Regiment and the Irish Guards remain as regiments of the British Army; “The Horse” now forms squadrons of other units. Of the six, four served in WWI; the B-Specials were formed in 1920 and the Rangers in 1968.
Above is King William III at the Battle of the Boyne in 1690.
This is a mural of King Niall (Nıall Caılle, Niall of the Callan) and Queen Macha. Niall was high king of Ireland (in competition with Fedelmıd of Munster WP) who held off the Vikings in the late 800s (WP) and died in 846 by drowning in the Callan river. Macha is a much earlier and mythological queen, and gives her name to the town: Ard Mhacha.
The central figures reproduce paintings by Jim Fitzpatrick (Visual History). The Niall figure comes from Nemed The Great but the Macha figure comes from a label Fitzpatrick produced in 1988 for Rosc “mead”, even though Macha (one of them, at least) was the wife of Nemed and there is a female figure in Nemed The Great.
Below the planets and stars, St Patrick’s (Catholic) Cathedral is on the left (WP) and St Patrick’s (CofI) Cathedral is on the right (WP).
In the border, clockwise from left to right, we see: the Tandragee Idol (WP), Naomh Bríd/St Brigid’s, St Patrick preaching the trinity, Irish dancing, Gaelic football, Armagh Harps, “Ard Mhacha”, the Armagh county crest in colour in the apex (Club & County), “Armagh”, Na Pıarsaıgh Óga, hurling/camogie, Cú Chulaınn’s, mummers (perhaps specifically the Armagh Rhymers), Jonathan Swift, a steam locomotive (perhaps representing the Armagh rail disaster of 1889, in which 80 people died WP); a vintage image of Callan Street is depicted along the bottom (History Armagh).
The side-wall features the word “welcome” in many languages, and Celtic knot-work surrounding an image of the Celtic Cross below St Patrick’s, perhaps inspired by this 1903 photograph (Flickr).
Painted by a crew of Belfast artists – Danny D and Mark Ervine, along with Lucas Quigley, Marty Lyons, Micky Doherty – organised by the Callan Street Residents’ Association, with funding from the European Union’s Peace III initiative.
“1973-2013” Jake McGerrigan and Tony Hughes of the OIRA were both shot and killed by British forces in the Windmill Hill area of Armagh in a 48-hour period spanning April 7th and 9th, 1973. (Lost Lives #791 incorrectly gives March 7th for McGerrigan.) The board shown above was mounted in Navan Street for the 40th anniversary of their deaths, in 2013. The larger portraits on either side are of McGerrigan and Hughes; between them are (left) Peadar McElvanna, Roddy Carroll, Gerard Mallon, Martin Corrigan, (middle) Peter Corrigan, (right) Tony McClelland, Seamus Grew, Sean McIlvanna [McIlvenna], Dessie Grew.
There is an individual plaque to Hughes at the spot where he was shot, at the bottom of the second image below a board listing the same names (seen previously in 2012). “Thug sıad a raıbh acú [sic] ar son saoırse na hEırınn [sic].” “From death springs life and from the graves of patriots springs a great nation. [from Pearse’s oration at O’Donovan Rossa’s funeral].” There is stone to both McGerrigan and Hughes in the same alley (see McGerrigan – Hughes); there is also a stone to McGerrigan in Windmill Avenue.
Navan Street/Ogle Street, and Emania Terrace, Armagh
Every day, men would line up in schooling pens on the various docks of the port of Belfast to be hired by foremen. As mentioned on the left-hand side of the board above (recently erected on the New Lodge side of the Duncairn “peace” line) the rise of the shipping container in the 1970s spelled the end of the docker: “from 3000 listed dockers in 1970, the number had fallen to 280 by 1985.” Author and poet John Campbell recalls his first day on the docks in 1952, unloading cement, in this NVTv video.
“This artwork celebrates the unique contribution that generations of dockers have made to the port and City of Belfast.”
“It was a physically demanding job, the hours were long, the conditions were tough and the availability of work was not constant. Without the Dockers, however, the Port of Belfast would not have been able to grow. / Transportation of goods by containers led to a revolution in working practices at Belfast Docks and the number of dockers decreased dramatically. From 3000 listed dockers in 1970, the number had fallen to 280 by 1985. Behind these figures lay the human story of vast social changes in the harbour area as well as the gradual dissappearance [sic] of an entire community who had earned their living from the sea and also through the loading and unloading of ships. These were the Dockers and their families, many of whom lived in Sailortown. / The workforce of dockers spanned both traditions. Red button and Blue button. Dockers had a common allegiance to the Port of Belfast which provided a living for men and families from both communities. / The work was backbreaking, yet the Docks educated us about life, integrity, discipline, about standing up for our rights, about having pride in our identity as working men, as Dockers. / The Dockers[‘] working environment was repressive and hazardous with large numbers experiencing industrial injuries. Others lost their lives or were badly injured in horrific accidents at work. Many suffered chronic long term illnesses, others died prematurely having contracted asbestosis. Many Dockers became politically aware in the formation of trade unions and social reforms. The Dockers Trade Union, Irish Transport and General Workers[‘] Union (ITGWU) organised by Jim Larkin (1909) and James Connolly (1910-11) celebrated its centenary in 2009.”
Peter Moloney Collection 