South Belfast

Towards the Golden Mile’s southern extremity lies the university quarter. You’re likely to spend much of your time in the area, since it boasts plenty of eating places, pubs and a range of accommodation.  Just south of Shaftesbury Square stand three churches – Moravian, Crescent and Methodist – whose distinctive steeples frame the entrance to the university quarter. From here, leading up to the university buildings, the roads are lined with early Victorian terraces that represent the final flowering of Georgian architecture in Belfast. The Upper Crescent is a magnificent curved Neoclassical terrace, built in about 1845 but sadly neglected since; it is now used mainly for office space. The Lower Crescent, perversely, is straight.

Queen’s University is the architectural centrepiece of the area, flanked by the most satisfying example of a Georgian terrace in Belfast, University Square, where the red brickwork mostly remains intact, with the exception of a few bay windows added in the Victorian era. The university building itself was constructed in 1849 as a mock-Tudor remodelling of Magdalen College, Oxford, to a design by Lanyon, and houses a visitor centre, which provides information about the university, hosts a series of art exhibitions, and runs guided tours. Across the road from here is the Students’ Union, a white 1960s design. The Italianate Union Theological College, nearby on College Park, also by Lanyon, was temporarily the site of the Northern Ireland Parliament until 1932 when Stormont was built. A little further south down University Road, the university bookshop is especially good for Irish history and politics and has particularly impressive fiction, drama and poetry sections.

Within the Botanic Gardens is the Ulster Museum which reopened in 2009 after a long redevelopment programme. Retaining its original eighty-year old shell, the Museum now incorporates a bold modernist design and sheds light both literally and figuratively on subjects from the North’s troubled history to Ireland’s geological past. The grand open-plan ground floor, which also features a much-improved café, introduces some of the museum’s themes via its “Window on the World” displays which include everything from an impressive dinosaur skeleton to an Alexander McQueen dress. From here it’s best to head up to the third floor to explore the art exhibits. The undoubted highlights here are the modern art collection (featuring Francis Bacon’s macabre Head II, Bridget Riley’s unnerving Cataract IV and Stanley Spencer’s parochial The Betrayal), and the stunning landscapes and rural scenes by painters such as Belfast’s Sir John Lavery, plus Turner’s highly symbolic Dawn of Christianity.

The second floor features the “Nature Zone”, depicting the Earth’s origins and Ireland’s development up to the Ice Age. Far more engrossing are the first floor’s history galleries which begin with Neolithic remains and Bronze Age finds (including a remarkable three-foot wide decorated shield), before taking a detailed look at the medieval period – two exhibits to look out for here are the somewhat skew-whiff stone inauguration chair of the O’Neills of Clandeboye and the silver gilt arm-reliquary supposedly created to house St Patrick’s hand. The Armada gallery includes plenty of relics from the ill-fated Girona which sank off the Antrim coast in 1588, while the Ascendancy section includes a remarkable rag-bound tally-stick, used to record the number of prayers said during the then illegal outdoor Catholic service, as well as highlighting the effects of the Great Famine.

From here the exhibits quicken up a pace, especially when focusing upon the War of Independence and the North’s resistance to Dublin rule, before looking at Belfast during World War II and concluding with a disappointingly bland space devoted to The Troubles.

Just below Queen’s University are the popular Botanic Gardens, first opened in 1827 and well protected by trees from the noise of the surrounding traffic. Within the gardens is the Palm House, a hothouse predating the famous one at Kew Gardens in London, but very similar in style, with a white-painted framework of curvilinear ironwork and glass. It was the first of its kind in the world, another success for Lanyon, who worked in tandem on this project with the Dublin iron-founder Richard Turner. The nearby Tropical Ravine is a classic example of Victorian light entertainment – a hundred-year-old sunken glen chock-full of “vegetable wonders” extracted from far-flung jungles and replanted for the delight of the visiting Belfast public.