Month: May 2024

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Architects Architecture Country Houses People Restaurants Town Houses

The Auld Bank Coffeeshop + Crossroads Gortin Tyrone

Steeped in Resonance and Nuance

It’s the most architecturally appealing aesthetically appetising crossroads in County Tyrone. To the northeast, a coffeeshop. To the southeast, a church. To the southwest, a school. To the northwest, a country house. All oozing rural charm. Welcome to Gortin. The ‘t’ is pronounced “ch”. The main approach to the crossroads could hardly be more dramatic. An inland corniche snakes through the purple heather topped Sperrin Mountains in a downward spiral (Gortin Lakes on one side, Gortin Forest on the other) before plummeting into the valley of the Owenkillew River to arrive at the crossroads. It’s time to go for a wee dander. If the crossroads is considered the western end and St Patrick’s Catholic Church accessed off Chapel Lane the eastern end, that means Gortin High Street is the princely length of 585 metres long.

There’s been a small drop in population (the 2011 Census states 412 inhabitants) and a forest planted since Samuel Lewis’s 1837 Topographical Dictionary of Ireland was published, “Gortin, a village in the Parish of Lower Badony, Barony of Strabane, County of Tyrone, and Province of Ulster, five miles east of Newtownstewart on the road to Cookstown; containing 441 inhabitants. This place is situated in a deep watered valley, and in the district of the Mounterloney Mountains, of which it may be considered the chief town. It consists of one irregular street containing 82 houses indifferently built; the surrounding scenery, though boldly picturesque, is destitute of embellishment from the want of wood, which is found only in the demesne of Beltrim, the handsome residence of Arthur Hamilton, which is surrounded by young and thriving plantations. The parish church, a neat small edifice, is situated here, also the parochial school and a dispensary.” Diarist John McEvoy went even further on highlighting its significance in 1802, “The village of Gortin may be considered the capital of this immense region.”

The Auld Bank Coffeeshop is a single storey dropping to two storeys to the rear three bay building facing the high street. “Auld” meaning “old” is pronounced “owl”. Its rough cut stone and brick quoined exterior is more associated with east of the River Bann villages such as Hillsborough and Moira. Ulster Bank closed its branch in 2015 and the building owner, Blakiston-Houston Estates Company, converted it into a coffeeshop. A very popular one at that, serving the best panini west of the Bann. The bank was built in 1845 with a gabled porch added in 1980. In true late 20th century style, the fanlight and sidelights surrounding the entrance door have a postmodern feel to them. The interior has been opened up; simple ceiling mouldings provide an unpretentious backdrop to the café.  On the other side of Main Street, The Auld Forge, a shop selling country clothing brands such as Hartwell, Laksen and Dubarry of Ireland, has opened in a former warehouse next to St Patrick’s Church of Ireland.

Alistair Rowan sums up St Patrick’s Church of Ireland in his 1979 Buildings of North West Ulster (sponsored by Lord Dunleath’s Charitable Trust), “1856 by Joseph Welland, replaced the first Lower Badoney church of 1730. A standard stone built hall with short sanctuary, end porch, and bellcote. Short paired lancets, seven down each side, with quarry glass, and a nice braced truss roof inside, high and a little richer than usual.” A sprawling underdeveloped graveyard drapes a green apron around the south front.

Professor Rowan goes on to explain the church architect’s credentials, “The Church of Ireland had from 1843 one architect, Joseph Welland, who catered for all its needs. His qualifications were impeccable. Welland, a relative of the Bishop of Down, had trained in Dublin in the office of John Bowden, through whom in 1826 he obtained the appointment of architect to the Board of First Fruits in the Tuam Division. In 1839, when the Irish Ecclesiastical Commission replaced the old Board of First Fruits, Welland was appointed one of its four architects (although the older William Farrell seems to have retained responsibility for the North), and in 1843 on the reorganisation of the Commission he became the sole architect.”

Beltrim National School is a long single storey white rendered with slate roof building looking over the road to the cemetery. A juxtaposed case of early life meets eternal life. To either extremity of the façade is an entrance (one for boys, one for girls) separated by six tall windows. Both entrance doors are painted farm shed red with a school name plus date plaque (1899). Completely symmetrical, the former school turned holiday let portrays provincial architectural perfection. So contained, so uncontrived. Higher up the brow of the hill – in fact the last and most southerly building on Glenpark Road, the serpentine leading out of Gortin towards the forest and lakes – is Lower Badoney Parochial Hall, another single storey modest building. Again a name and date plaque gives away its use and age (1884). A gleaming Victorian villa stands between the school and hall.

There’s nothing obviously castellated about Beltrim Castle. There are apparently remnants of the 1620s bawn completed by Sir William Hamilton hidden deep in the fabric of the building. Tyrone people call country houses “castles”. Locals refer to nearby Baronscourt (firmly in the country house category) as “the castle”. Alistair Rowan believes the current appearance of Beltrim Castle dates from the 1820s and notes its overhanging eaves. The low two storey house is incredibly attractive in an understated Ulster manner. The five bay entrance front has a fanlight over its entrance door as big and grand as one on any Dublin townhouse. A later boxy porch was removed last century to reveal the doorcase in all its spiky splendour. To the rear of the main block, Beltrim Castle’s return wing is nearly as long as Gortin High Street or at least a terrace lining it. A lean-to conservatory attached to the wing has long since disappeared. The estate is privately owned by the Blakiston-Houstons but its gardens are occasionally open to the public. In 2015, the now 35 year old Jack Blakiston-Houston married the actress Emma Hiddleston, sister of the actor Tom Hiddleston.

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Art Design Luxury People Restaurants

Craig Rogan at The Collective Restaurant Leeds +

Boar is More

If you have ever wanted to replicate at home the tablescape from a restaurant, Craig Rogan at The Collective is the place for you. A restaurant in a shop or possibly a shop in a restaurant. Shelves separating dining tables from the retail area are filled with tempting purchases such as a green marble Amelie pestle and mortar (£125) or an alabaster Amelie rolling pin (£45). It’s an intimate environment with just 36 covers and an open plan kitchen set back from the street front. A giclee print of Grace Jones by Victoria Topping (£1,200) dominates the bathroom.

This ground floor space in a restored Victorian block on Boar Lane close to Leeds Railway Station is now buzzing morning, noon and night. When we arrive for lunch a business networking event is wrapping up. Our waitress explains a brunch menu is the latest addition to the restaurant. Formality increases as the day progresses, culminating with an eight course tasting menu in the evening. Less than six months after opening, the Michelin Guide gave Craig Rogan at The Collective a glowing recommendation.

Craig cut his teeth at high profile restaurants including Fera in Claridge’s Hotel London. His father Simon Rogan is a three star Michelin chef. Craig relates, “We use a lot of local suppliers. All our seafood is from Hodgson Fish in Hartlepool on the east coast and our meat supplier is from Sykes House Farm in Wetherby. We also go to Leeds Kirkgate Market which was once the largest indoor market in Europe. It’s still very big now and has some amazing fishmongers and meat suppliers.”

Our lunch is wine, small plates, pudding, wine. Vino Pamona Pinot Grigio, 2023 (£26.50). Salt baked beetroot, walnut, raspberry vinegar, Kidderton Ash goat’s cheese (£11.00). Isle of Wight tomatoes, anchovy, basil (£11.00). Oak smoked salmon, yuzu, dill, apple, cucumber (£15.00). Dark chocolate, vanilla and acid orange tart (£8.00). Craig’s talent shines through on every plate in the fresh, flavoursome and photogenic food.

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Architects Architecture Art Design Developers Luxury People Restaurants Town Houses

Clayton’s Kitchen Restaurant + Georgian Bath Somerset

From The Circus to the Kitchen

There are few more glorious sights in southwest England that the approach by train to Bath. As the railway line gently curves round, the golden hue of Bath stone (incidentally Castle Ward in County Down is an example of the material being used in west Britain) against the sloping verdancy is breathtaking. On disembarked closer inspection, the city reveals itself through a gradual unpeeling of layers of beauty and intrigue. As Cyclops would say, there’s more to Bath than meets the eye.

Take the alleyway running off Terrace Walk between The Huntsman pub and Bridgwater House. It frames the three bay frontis of the 1720s home of quarry owner Radulphus Allen. Designed by another oligarch of Georgian Bath, John Wood the Elder, it’s a pristine example of the decorated Palladian style. Ralph Allen’s house is now occupied by the David Brain Partnership, aptly an architectural practice specialising in conservation. Another thrill of the alleyway is the rear elevation of Sally Lunn’s Eating House lit by early 18th century sash windows with heavy glazing bars.

John Wood the Elder’s own home on Queen Square is a showcase, especially the staircase hall with its peopled plasterwork. St Cecilia, Patron Saint of Music, silently serenades visitors on the ascent and descent. The secondary staircase is directly behind the main staircase hall. Newel posts dropping below the stair and three balusters per tread are typical of the era. Full entablature cornices finish off raised and fielded panelling in all the principal rooms. Despite dying aged 50, the architect has left an indelible mark on the cityscape.

The Palladian precision of the formal south elevation coupled with the boutique shop lined inner sanctum of Pulteney Bridge arching over the River Avon is a familiar tourist sight. Its north elevation has a charm derived from irregular jettied projections – a picturesque jumble that would tempt Canaletto to get out his paintbrushes. Pulteney Bridge was designed by Robert Adam and completed in 1774.

John Strachan is lesser known than the Woods or the Adams. His Beauford Square, erected in 1727 to 1736, is more baroque than Palladian. It was developed by John Hobbs, a Bristol sailmaker and timber merchant. Distinctive red pantile roofs contrast in colour and texture with the Bath stone walls. Several of the townhouses facing the central green were later enlarged from two and a half to three storeys.

Water is everywhere in Bath. The dual aspect late 18th century Pump Room designed by Thomas Baldwin and finished by John Palner is quite the spot for afternoon liquid refreshment. Its north facing windows look out towards the Perpendicular Gothic Bath Abbey; its south, down a storey to the Roman Baths. St Cecilia would approve: a pianist and two violinists play sonatas as guests in the Pump Room polish off sparkling water from the Mendip Hills.

Street names are always fascinating in historic cities. What are the origins of Gay Street, Gracious Court, Milk Street, Quiet Street, Saw Close, Swallow Street, Trim Street? There is no Queer Street in Bath: this place is affluent. The Circus is self explanatory: three identical curved segments of 11 terraced houses each built between 1754 and 1769 to the design of John Wood the Elder and completed by his son John Wood the Younger. Why use one order when you can employ three. The columnar front and side elevations are thrust skyward by lavish paired columns – Roman Doric (entrance floor); Ionic (drawing room floor); and Corinthian (nursery floor).

A frieze supporting the acorn dotted cornice features lyres and Irish harps. The influence of Inigo Jones’ Banqueting House of Whitehall Palace London dating from 1638 is apparent in the design. The Woods’ ability to synthesise precedent and recompose it elevated their work above all peers. Cills have been lifted back up to their original position: the Victorians liked to enlarge windows by lowering them by a row of panes. Originally the urban space enclosed by The Circus was paved with setts. A circular green filled with trees dates from the Picturesque period of the late 18th century.

Beau Nash is an antiques shop on Brock Street which links The Circus to The Royal Crescent. The houses on the opposite side of the street have porches designed to accommodate sedan chairs. Suitably for a shop named after a bon viveur, dealers Ronald Pringle and Cynthia Wihardja have compiled a restaurant guide to Bath. Their verdict on Clayton’s Kitchen is, “The best value for money in Bath. Rob is a Michelin star Chef who set up his own restaurant. Lovely presentation and generous portions. Superb service. We love this place.”

Ever since Chef Patron Robert Clayton opened his eponymous restaurant high above George Street in 2012, it has become a fixture of fine dining in Bath. The 54 year old lives in the city with his wife Sara, daughters Imogen and Liberty, and Weimaraner Myrtle. He was one of the youngest chefs ever to win a Michelin star while aged 25 he headed up the kitchen of Huntsrete House Hotel just outside Bath. There are two adjoining dining rooms, simply decorated with natural materials. Duck egg blue reigns supreme. Seating spills out to the side onto Miles’s Buildings, a laneway leading up to the rear of the southeast segment of The Circus. Dishes radiate uncomplicated perfection drawing on Mediterranean and current French cuisine for inspiration.

Julia Kent wrote in House and Garden magazine, “Having escaped the worst excesses of modern planners’ dreams for redevelopment, Bath remains largely and evocatively a Georgian city. True, some latter day horrors have been allowed to mar the once harmonious skyline but, even so, you can still wander round the city and absorb the spirit and architectural beauty of the 18th century. Perhaps because Bath has a comparatively large local population of discerning diners out, the city boasts numerous good restaurants, not geared solely to tourism, some of which are of very high standing indeed.” That was May 1987. Not much has changed in a good way.

Bath was built to be a resort of pleasure. The Romans got it. The Georgians got it. The Caroleans are getting it.

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Architecture Art People

SABBATH PLUS ONE Church of the Holy Sepulchre Jerusalem + Queen Helena

Heir of All Things

“They brought Jesus to the place called Golgotha (which means ‘the Place of the Skull’).” John 19:17

That palimpsest of architectural taste, a panoply of passion, the Church of the Holy Sepulchre marks “the unexpected … unforgettable” (Pierre Loti, La Galilée, 1895) spot. Or at least one of the spots identified as the place where Christ was crucified. It’s the most ecumenical building imaginable, shared by a cluster of Christian denominations: Armenian Apostolic; Catholic; Coptic; and Ethiopian, Greek and Syriac Orthodox. Priests and their acolytes competitively stride round, swinging incense, ringing bells and chanting loudly. Emperor Constantine the Great built the founding church in the 4th century to commemorate his conversion to Christianity. “The most magnificent of his monuments,” claim Teddy Kellek and Moshe Pearlman in Jerusalem Sacred City of Mankind (1968).

Emperor Constantine’s mother Queen Helena had identified the site based on the discovery of the remains of three crosses and a nearby tomb known as ‘Anastasis’ (Greek for resurrection). “Just the place for a basilica,” Evelyn Waugh imagines she would say in his historical novel of 1950, Helena. Adrian Wolff summarises Her Majesty’s achievements in Israel: A Chronology (2004), “327 AD Queen Helena (St Helena), a devout Christian, travels to Palestina, identifying original Christian Holy Sites connected with Jesus, constructing Byzantine style churches on these sites.” Todd Fink (Jerusalem and Central Israel, 2021) expands on Queen Helena’s oeuvre, “She helped establish the Church of the Nativity in Bethlehem, the Church of the Ascension on the Mount of Olives (currently known as the Pater Noster Church), the Church of the Annunciation in Nazareth, and the Church of the Holy Sepulchre.” Reverend Andy Rider (Life is For Giving, 2018) adds, “God’s presence is thicker in ancient churches through hundreds of years of prayers. Step into it!”

William Thackeray gasps in Notes on a Journey from Cornhill to Grand Cairo (2017), “The situation of the tomb (into which, be it authentic or not, no man can enter without a shock of breathless fear, and deep and awful self humiliation) must have struck all travellers.” Through the centuries, battling the pedagogy of the unpredictable, the church was destroyed, rebuilt, set on fire, hit by an earthquake and finally restored by King Abdullah II of Jordan. The Rock of Calvary is encased in glass: a divine vitrine. Private tour guide Ibrahim Ghazzawi suggests, “The crosses would likely have been wedged into cracks in the rock.” There are three domes; Orthodox Christians believe church domes represent heaven’s vaults. Philip Larkin’s poem Church Going (The Less Deceived, 1955) contains the line “A serious house on serious earth”. It is what it was.

Daphne du Maurier (Not After Midnight and Other Stories, 1971) describes a tour guide’s experience: “On, on, ever upwards, ever climbing, the dome of the Church of the Holy Sepulchre rearing above him … the Church of the Holy Sepulchre enveloped him. He was aware of darkness, scaffolding, steps, the smell of many bodies and much incense.” The church contains the final five Stations of the Cross. The earlier nine Stations line Via Dolorosa. “‘The royal banners forward go, the cross shines forth in mystic glow,’” quotes The Right Reverend Rowan Williams in God With Us: The Meaning of the Cross and Resurrection, Then and Now (2017). “To sing that hymn for the first time each successive year is for many of us the real beginning of the Passion season.”

Andre Moubarak’s 2017 guide One Friday in Jerusalem sets out the importance of Via Dolorosa, “On a narrow street only 2,000 feet long in Old Jerusalem, the storey of redemptive history drew to its agonising glorious climax. Maronites served as the first tour guides of the Holy Land for visiting Europeans – first the Crusaders, then pilgrims.”

Centre for Action and Contemplation teacher Cynthia Bourgeault believes, “The Passion is really the mystery of all mysteries, the heart of the Christian faith experience. By the word ‘Passion’ we mean the events which end Jesus’s earthly life: His betrayal, trial, execution on a cross, and death.” Reverend Jennie Hogan recommends, “Christ makes the way for us.”

Reverend Robert Willis details in The Architectural History of the Church of the Holy Sepulchre at Jerusalem (1849), “The Church in its general plan may be described as a Romanesque cruciform structure, having a circular nave to the West, a north and stransept, and a short Eastern limb or choir terminated by an apse. An aisle runs through the circular nave, on three of its sides. Also there is an aisle at the end of each transept, and on the east and west sides of each transept; and an aisle passes around the apse, and has chapels radiating from it, in the usual manner.” Henry Van Dyke (Out-of-Doors in the Holy Land: Impressions of Travel in Body and Spirit, 1908) mentions its “dim and shadowy” interior. Borrowing from Joseph Roth’s The Wandering Jews (1927), “Candles burn now for all the dead. Other candles are lit for the living.”

Simon Goldhill notes in Jerusalem City of Longing (2008), “The first shock to anyone used to the great cathedrals of Europe such as Chartres or Notre Dame, or ever to the vast institution of the Vatican, is just how hard it is to find the Church of the Holy Sepulchre.” This unresolved siting is matched only by the architecture: what the aforementioned author calls “the irredeemable confusion of the church itself”. George Knight (The Holy Land Handbook, 2011) considers it “gangly and unplanned”.

“When they came to the place called the Skull, they crucified Him there, along with the criminals – one on His right, the other on His left.” Luke 23:33

(Extract with alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv).

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Architecture Luxury Restaurants Town Houses

The Blue Pelican Restaurant + Bar Deal Kent

Beltane Braces

A fish and chip shop and an ice cream parlour are essentials for the esplanade of any seaside town. This being deliciously refined Deal on the east coast of Kent, a well defined Japanese restaurant in a Grade II Listed early Georgian townhouse is also required. The Blue Pelican has just opened on the aptly named Beach Street in what was formerly The Black Douglas, a restaurant run by Dalziel Douglas. Her sister Lizzie is the owner of The Black Pig, a butcher’s just behind the esplanade on St George’s Passage. They are the daughters of Lord Gawain Douglas who’s the son of the 11th Marquess of Queensberry. Oscar Wilde’s lover Bosie Douglas was a relative.

The red door and pale peach walls of the façade have been painted pale green and white respectively. A tripartite shopfront remains black. This façade reappears inside in a mural dominating a wall of the restaurant. Painted by Deal born Lisbon residing artist Tom Maryniak, his flatulent Victorians wallpaper caused merriment for customers visiting the basement loo in Dalziel’s restaurant. The owners Chris Hicks and his wife Alex Bagner, who own The Rose Hotel on High Street, wanted to pay respect to The Black Douglas. They’ve retained the same ground floor layout: the dining room occupies the sea facing front of the building with an open plan kitchen to the rear. A striking departure is the red neon sign “Fire it up” outside the cavernous now red painted loo. Alex was previously Design Editor at Wallpaper* magazine.

Chef Luke Green who formerly led the kitchen in The Rose looked to Tokyo’s culinary scene for inspiration, having worked in the city for five years. The informal offering of an izakaya – a Japanese bar that serves drinks and snacks (like soromame tofu, peas and wild garlic) – accompanies more substantial plates (such as halibut, white asparagus and dandelion) and puddings (think kumquat and kinako set custard). Tim Toovey of London company Uncharted Wines collated a drinks menus focusing on low intervention English and European vineyards alongside sake and Japanese whisky. Cocktails combine Japanese flavours and local herbs which sum up in glasses the ethos of The Blue Pelican according to Chris, “A restaurant and bar firmly rooted on the Kent coast but inspired by a passion for Japanese food and drink.” Upstairs, The Pelican Rooms offer more Deal necessities: a yoga studio and three private treatment rooms.

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Architecture Country Houses People

Grey Skies + Grey Abbey House + Grey Abbey Greyabbey Down

Not Grey Gardens

Under a slate grey sky through the foliage can be glimpsed one of the great houses of County Down, the central ground floor room of its garden front lit by Gothick arched windows set in a chamfered bay. The entrance front is completely neoclassical so not quite the extreme contrasting elevations of Castle Ward on the opposite shore of Strangford Lough. A charming idiosyncrasy, nonetheless.

The entrance front is again not without its quirks, being six bays wide (odd numbers are more common in neoclassical language) and the main access into the house being through one of the single storey flanking wings. Two storey wings between the three storey main block and aforementioned single storey wings form an attractive wedding cake tiered silhouette. The central two windows of the ground floor have been lowered by a pane like The Argory in County Armagh. Nothing has changed since the entrance front was photographed 30 years ago. The house’s dove grey walls are timeless.

The Grey Abbey Estate has belonged to the Montgomery family since 1607. Diarist James Boswell visited it in 1769 and recorded “the excellent house of Mr Montgomery’s own planning”. Who needs an architect when you’re a well educated and creative gentleman with oodles of grey matter? The Gothick connection between the two houses isn’t coincidental: the reception room windows on the garden front were added in 1773 when Hugh Montgomery married Emilia Ward whose father had built Castle Ward.

Grey Abbey House has been restored and maintained by Bill and Daphne Montgomery, reviving its charm following occupation after World War II by the Electricity Board. Their youngest daughter is the acclaimed actress Flora Montgomery. In 2014, there was lots of excitement locally when Flora married Danish banker turned restaurateur Soren Jessen in Grey Abbey. Guests included the actor Orlando Bloom as well as Prince Frederik and Princess Mary, now King and Queen of Denmark.

The bride was surrounded by stone plaques dedicated to previous generations of her family. One reads: “In memory of Arabella Catherine wife of Colonel Francis Octavius Montgomery daughter of Captain Kean Osborn 5th Dragoon Guards and the Honourable Theodosia Ward his wife. Born at High Wycombe Bucks 7 May 1808. Died at Nice 18 March 1879 and is buried in the Caucade cemetery. This tablet is dedicated to her by her husband AD 1879.” Another reads: “Hugh Montgomery Clerk in Holy Orders born 24 June 1754 died 30 March 1815. The Honourable Georgina Charlotte Emilia Hannah his wife. Youngest daughter of Bernard 1st Viscount Bangor born 6 July 1762 died 16 November 1843. Both lie buried in this abbey. This tablet is dedicated to their memory by their son Colonel Francis Octavius Montgomery AD 1879.”

The ruins of the Cistercian Priory of Grey Abbey, founded in 1193, are an historic tourist attraction. Next door, Grey Abbey House and garden are open for group tours and filming. Flora isn’t the only television star: the house has featured in The Frankenstein Chronicles headlining Sean Bean on ITV Encore and Channel 5’s Agatha and the Truth of Murder about the leading crime novelist. The neoclassical North Gatelodge has been sensitively rebuilt to the design of Belfast architects Consarc. Planning permission has been granted to restore and extend the Gothick West Gatelodge, also to the design of Consarc, converting it into a dower house. Greyabbey village is especially picturesque and is good for antiques and food. The Wildfowler Inn is an essential pitstop for scampi and a Grey Goose cocktail when touring the Strangford Lough area.

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Architecture Country Houses Hotels

The Eccles Family + Bel-Air Hotel Ashford Wicklow + Ecclesville Fintona Tyrone

The Writing on the Wall

Is Ashford the Los Angeles of Ireland? No. But it does have its very own Bel-Air. Mansion, not zip code. Originally called Cronroe, Bel-Air in County Wicklow not surprisingly got its name from an early 20th century American owner, clearly feeling homesick. The original name lives on in nearby Cronroe Lane. Right from the get go, it’s had a back yard for dilettantish partying. In the 18th century, fairs were held on the real estate. Tents erected, punch and whiskey sold, and a good time had by all. A forerunner of Glastonbury or Electric Picnic. These days, the party is more likely to be indoors.

Missing from Mark Bence-Jones’ Irish country house guide, here’s the architectural summation. The current house harks back to 1890. Period. Typical of the twilight moments of the 19th century, extreme Victoriana is clearly on the wane allowing the early plainer trappings of Edwardiana to emerge. Red brick has given way to grey render. Detailing is concentrated on the entrance: a gabled campanile rising past the hipped roofs forms a pyramidal silhouette. The timber panelled double front door below a large plain fanlight is framed by floral capped columns. Segmental arched two pane sash windows are either single, in couples or threesomes. Some are set in canted or boxy days. Stepping inside, the timber staircase takes off with great gusto. Not quite Lissan House in County Tyrone; nevertheless a flight of fancy.

It all really got going in 1716 when Sir John Eccles, the Collector of the Port of Dublin, arrived. He was descended from the Scottish Barony of Eccles. Settling down, his son Hugh built the original house in 1750. An Eccles generation or two later, Cronroe was sold to Julius Casement in 1862. After it was burned down in the 1880s, Julius built the present house. A rather better known relative was his cousin Sir Roger Casement. Roger spent many summer vacations at Cronroe. Outbuildings and stables with light Gothick touches appear to predate the house.

In 1934 its American owner Nicholas Burns took over. Despite selling the house to the Murphy family just three years later, the name stuck. Tim and Bridie Murphy converted Bel-Air into a hotel and riding school with the help of their three daughters Ena, Ita and Fidelma. In 1980 Fidelma and her husband Bill Freeman took over. A third generation of siblings Aileen, Margaret, Noni and William now run the show. It’s perfect for a house party; no carriages required. Disco in the drawing room. Speakeasy in the library. Encapsulation of feeling in the bedroom.

William Murphy explains, “This is a home rather than just a hotel. It’s full of history too. There are ghosts – but they’re all good! The painting over the hall fireplace is of Lady Casement. She appears to be watching everything going on around her. My mother was redecorating a bedroom and uncovered Roger Casement’s signature under the wallpaper. She had his signature certified – it’s protected now in a glass display on the wall. The poet Seamus Heaney was a regular at Bel-Air and spent time writing here. We’ve a 200 acre farm and 50 horses.”

It’s still very much a country house so Bel-Air although it stopped operating as a hotel in 2019. Not even a modern extension. The same can’t be said for an Eccles manor north of the Black Pig’s Dyke. Ecclesville in Fintona, County Tyrone, was the seat of another branch of the Barony. Two refined early Georgian main elevations were placed at right angles to each other like Castle Grove in County Donegal: a six bay slightly asymmetric entrance front and a five bay symmetric garden front. Breakfronts, dentil corniced setbacks and ground floor windows set in blind segmental arches gave rhythm and subtle character. The interior was equally fine, especially the plasterwork in the interlinked drawing room and music room.

The last owner of Ecclesville was the rather jolly cross dressing multi barrelled man about town Raymond Saville Connolly de Montmorency Lecky-Browne-Lecky. His chauffeur driven two toned green Austin 16 was often spotted around Fintona and nearby Omagh. Clad in his trademark mauve suits, a penchant for performing convinced him to convert a barn into a theatre. He died in 1961 aged 80, leaving his estate to the nation. Three centuries of heirlooms were auctioned by Ross’s Auctioneers of Belfast raising £23,500. No buyer was found for the house and after a stint as a nursing home, it was demolished in 1978. Traces of Ecclesville still remain. The name lives on in the Ecclesville Equestrian Centre built on the estate. Its entrance piers and sweep of railings are mostly intact. A salvaged stone Eccles family arms dated 1703 which was placed over the front door of the house is on an outbuilding.

At the top of Church Street in Fintona, rising out of the overgrown cemetery of the medieval ruins of the old Church of Ireland church is a statue of a female clinging to a cross. On its plinth are the words: “In memory of my beloved husband John Stuart Eccles of Ecclesville County Tyrone who died 24 April 1886 aged 38 years. Eldest son of the late Charles Eccles Esq who died 4 November 1869. Also of my two infant boys. This monument is erected by his sorrowing widow. ‘Suffer little children to come onto me and forbid them not; for such is the Kingdom of God.’” The widow is buried beneath the statue: “This tablet has been placed here by Rose and Dosie Eccles in memory of their beloved mother Frances Caroline Eccles who died 12 February 1887.” A stone dog guards her final resting place. Down the hill of Church Street, an old photograph of Ecclesville stands on the mantlepiece of Jack’s coffee shop. Bel-Air and Ecclesville: two houses, an overlapping family history, sashes and Casements, two fates.