King William III

“This mural is dedicated to the past, present & future members of Clifton St Orange Orders from Pride Of The West flute band & Lower Shankill community. REM 1690. Officially opened by  Billy Lochrie.” King Billy is shown moving (unusually) from right to left, with orange lilies below.

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Copyright © 2009 Peter Moloney


Pony Club Arch

This is the Orange arch next to the Pony Club in the Hammer (lower Shankill). The five boards, from left to right, show “Shankill Road Campsie Club”, the crown and bible with orange lilies, King Billy in 1690, the crown and cross of the “Royal Black Preceptory”, and the orange star between St Andrew’s Saltire and the Union Flag (see Ulster Scotland for a larger version). Ariel Street, Belfast.

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Copyright © 2009 Peter Moloney

Bobby Jackson Mural

A mural depicting William’s conquest of Ireland, including the Crossing Of The Boyne (on the left) and the Siege Of Derry (on the right), was originally painted by Bobby Jackson (Senior) in the 1940s. In 1993, the wall on which the mural was painted was decaying and threatened by redevelopment (and having already been moved once, in the 1970s) and so it was destroyed and replaced, with a plaque in its side reading “The Bobby Jackson Memorial”. A new, very similar, mural was painted (?by Jackson Sr and/or Jackson Jr?) on boards in 1995 and is placed on the wall during the marching season. The Fountain, Londonderry.

The Bobby Jackson mural has its own Visual History page.

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Copyright © 2008 Peter Moloney

The Williamite Campaign

Scenes from the Siege Of Derry and Battle Of The Boyne in the Fountain, Londonderry: Captain Browning of the Mountjoy being shot as goods were unloaded from his ship, the beseiged lamenting over a dead comrade, The battle of the Boyne, battle scene, Willian King Memorial Flute Band, Siege of Derry. The area was photographed previously in 20022006, and 2007.


Copyright © 2008 Peter Moloney

King William At The Boyne

The Village Eddie is re-imaged with a painting of King Billy at the Boyne by John Darren Sutton in Tavanagh Street, Belfast.

“The first unionist mural was painted in 1908 on the Beersbridge Road in East Belfast by shipyard worker John McLean. It depicted King William at the Battle of the Boyne. This was the start of mural painting becoming a key element in the annual unionist celebration of the Battle of the Boyne, culminating in the Orange Order parades of July 12th. Murals, bunting, arches, painted flagstones, marked out the route of marches as well as adorning countless local areas. Between 1908 and the 1970s the vast bulk of unionist murals depicted King William at the Boyne. Other murals depicted the sinking of the Titanic, the 36th Ulster [sic] Division at the Battle of the Somme, and various royal weddings and anniversaries. Each unionist working class area vied with the neighbouring areas to have the best decorations for the Twelfth. As part of this rivalry, King William murals were painted and repainted year after year, with some surviving through six or more decades. The longest-surviving mural in the South Belfast area was in Rockland Street. It depicted King William on his white horse at the Battle of the Boyne. Painted first in the mid-1920s, it survived until the mid-1990s, when it became a victim first of the heat from an adjacent bonfire, and then of redevelopment. The King William murals began to fade from the walls in the 1970s, to be replaced with murals depicting flags and other inanimate emblems. Overall, the number of murals declined significantly in this decade. In the mid-1980s mural painting in unionist areas came under the control of loyalist paramilitary groups. From that point, the vast majority of murals in unionist areas depicted armed and hooded men. In recent years, the debate on mural painting inside and outside loyalist paramilitary organisations has led to the decline of the military iconography. This debate has led to many positive changes taking place throughout Northern Ireland and in January 2008 Greater Village Regeneration Trust secured funding through the Re-imaging Communities Programme to transform a number of areas within the village. This programme was established to help communities in both rural and urban areas to focus on positive ways of expressing  their culture and identity and to encourage the creation of vibrant and attractive shared spaces. Thanks to the overwhelming support and participation of the local community in the Re-imaging process. Local organisations, community leaders, residents and young people have worked closely with artists to tackle the displays of redundant sectarian imagery and replacing these with positive expressions of wider cultural celebration.

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Copyright © 2008 Peter Moloney