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Pettigo Donegal + Fermanagh

The Boundary Lines Have Fallen in Pleasant Places

It’s the only village in Ireland where the Main Street is in County Donegal (Ireland’s most northwesterly county) and the High Street is in County Fermanagh (the United Kingdom’s most westerly county). The 1925 Boundary Commission carelessly used the three metre wide River Termon as the border, forever splitting the village between the Republic of Ireland and Northern Ireland or at least up until today. The River Termon, all 16 kilometres of it, rises from Scraghy near Omagh and flows into Lough Erne at The Waterfoot, a demesne three kilometres southwest of Pettigo. Its water meadows are home to brown trout, dippers, grey wagtails, heron, mallard, mink, otters and white clawed crayfish. In ancient times the river formed the boundary, or “Terminus”, of the Monastic Lands of Lough Derg.

Elevated and isolated, Pettigo has a long and distinguished history. In Celtic times it was known as the Place of the Blacksmith. By the medieval period, it had emerged to become the gateway to St Patrick’s Purgatory on nearby Lough Derg. “The church at St Patrick’s Purgatory is a wonderful basilica, like something from Ravenna,” observes heritage architect John O’ConnellPettigo prospered as a market place in the 17th and 18th centuries. One of the oldest reminders of this notable heritage is Termon Castle, southwest of the village and close to Lough Erne. Its ruins are located in the Republic, just 256 metres from the border. Built by the Gaelic Clan McGrath in the late 16th century, an indelible mark on the landscape, it bears all the scars of Cromwellian bombardment. Some architectural elements such as gun loops and window mullions are still intact.

The Church of Ireland, Templecarne Parish Church, and the former courthouse cum market house (a common combination in Ireland – see Kinsale), set at perpendicular angles to one another, form the focal point of the village centre along with the group of three storey houses opposite. The church dates from 1836 and is typical William Farrell: austere elegance. John O’Connell says, “Farrell was a very solid architect.” The building has a timeless quality – like Mr F’s Colebrooke Park and Ashbrooke House, both in County Fermanagh – derived from his restrained application of decoration. The tall gothic arched windows contain an unusual detail. Mr O’C explains, “The angled glazed inset is, in fact, a device for ventilation. Thus from the inside the hinged flap could be opened, usually with the assistance of a cord.” Samuel Lewis wrote in his 1837 Topographical Dictionary of Ireland, “The church, situated at Pettigoe, is a small, old, and dilapidated structure, towards the rebuilding of which Mrs Leslie (the proprietor of the estate), the Rector, and the Protestant parishioners have contributed a large subscription.”

The Reverend Charles Eames is the current Rector. “My vision for this church,” he states, “is to make an impact for God, here in Pettigo, by helping people understand the enriching messages of eternal hope given to us by Jesus Christ.” Sadly the grand Templecarne Rectory lies in ruins in fields next to Termon Castle. This long low two storey house is asymmetrically arranged with a single storey porch tucked between blocks set at right angles to one another. The original roughcast rendered finish, where not covered in ivy, has mostly given way to reveal the red brick construction material. Samuel Lewis notes, “The living is a rectory and vicarage, in the diocese of Clogher, and in the patronage of the Bishop: the tithes amount to £300. The glebe-house was built in 1813, at an expense of £978.9.2¾ of which £623.1.6½ was a loan from the late Board of First Fruits, and the remainder was defrayed by the then incumbent: the glebe comprises 141 acres of good land, valued at £176.16.8 per annum.”

The Barton Family Memorial is located to the west of the church. Their estate is The Waterfoot. Samuel Lewis records, “Waterfoot, the residence of Lieutenant Colonel Barton, is pleasantly situated.” A quirky triple jelly mould headstone has an equally quirky inscription, “The Victory. 1 Corinthians XV, 54 to 57. A White Stone. Amen. Rev I 18. ‘Tell his disciples he is risen from the dead.’ Matt XXVIII 7. Barton Family Vault.” Andrew Barton Patterson (1864 to 1941), Australian poet and journalist grandson of Robert Barton, wrote Waltzing Matilda. In January, snowdrops grow over the vault.

The former courthouse cum market house, restored and converted into a family home in 2006, is more provincial in character. It dates from circa 1850. The terrace of three houses opposite, restored in 2016, is of a surprisingly grand scale for such a remote location. The houses rise a storey higher than most of the village buildings and display distinguishing delineated window surrounds and half columned doorcases. Called The Palisades, their grandeur is less surprising when it transpires they once formed the village home of the landowning Leslie family. Sir Winston Churchill, a relative of the Leslies, was a frequent visitor. The most famous recent scion, Sir Jack Leslie 4th Baronet of Glaslough and Pettigo, died at Castle Leslie in Glaslough, County Monaghan, in 2016.

Terence Dooley writes in The Decline of the Big House in Ireland (2001), “The Leslies of Glaslough were amongst the largest landowners living in south Ulster during the 19th century. By the 1870s, they owned almost 50,000 acres located in the seven counties of Monaghan, Cavan, Donegal, Down, Fermanagh, Meath and Tyrone. Their largest estate was in County Donegal (28,827 acres) and included St Patrick’s Purgatory, Lough Derg, from which the Leslies ironically derived significant income from Catholic pilgrims during the Penal Era.”

He continues, “From the 1840s, the Leslies had become related through marriage to some of the most influential landed families in Ireland and Britain. Sir John II (1857 to 1914) married Leonie Jerome, the daughter of a wealthy American newspaper tycoon, in 1884. This marriage meant that the Leslies became related through marriage to the Dukes of Marlborough as Leonie’s sister was Lady Jennie Churchill, wife of Sir Randolph and mother of Sir Winston. Both marriages were frowned upon in landed circles.”

High Street is named not after its retail offer but rather its steep gradient. Pettigo may be the sort of place which novelist Edna O’Brien would describe as, “You have to get a bus to get a bus”, but it has community spirit(s). Ever since Brennan’s Lounge overlooking the River Termon on the Northern Irish closed last century, both sets of Pettigonian nationalities frequent the pubs on the southern side.

John Elliott has lived all his life in Pettigo: “In my young days I remember 20,000 to 30,000 people coming to Lough Derg each summer. It was a lovely sight to see the smoke of the trains from each side of the platform which was roofed for the pilgrims. In the 1960s there were a lot more shops on the High Street in Pettigo like George McCreagh’s grocery and hardware shop. In my young days it was a good business centre. Fair Day was the 20th of every month, and cattle and sheep would be sold then. The old market yard is beside the former railway station. Magee Donegal Tweed would buy woven tweed for their big pullovers. The Burtons who own The Waterfoot had a forge in front of the Methodist Church.”

Across from the Methodist church at the top of High Street stands a significant looking tree. A sign on the railings surrounding it reads, “The Crimean War Tree was planted by W F Barton Esq and J P Clonelly, Pettigo, in commemoration of the taking of Sebastopol in 1856. Edward Barton and many others from the Pettigo area served in the Crimean War. After the capture of Sebastopol the Crimean War was virtually at an end. On 21 September the little town of Pettigo presented a sense of unusual animation and excitement, that evening having been set apart for rejoicing in honour of the capture of Sebastopol. The preparations were on an extensive scale, as F W Barton Esq of Clonelly had procured a large supply of fireworks from Dublin.”

John Elliott continues, “I remember going on a Sunday School trip on the train to Bundoran. The railway station in Pettigo was closed in the 1950s. Pettigo used to be packed on Sunday nights. People drove from Omagh and as long as you could hold onto the steering wheel you got here and home again. This applied all round the border – lots of music and great craic like that. The empty three storey house backing onto the river was Brennan’s Guesthouse. I remember Sir Jack Leslie – he wore a hat and a white coat. The Leslies lived in The Palisades, the white house opposite the Church of Ireland.”

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Ashbrooke House Fermanagh + William Farrell

The Spring of Content

Dr Roderick O’Donnell, author and Country Life contributor, considers Ashbrooke House in County Fermanagh to be “a very successful Regency country house”. Kimmitt Dean notes that “this seems to have formed part of a lucrative commission for the architect, there being many buildings of similar form in the vicinity…” Such a shame the late Sir Charles Brett didn’t come west of the River Bann in his riveting series on the buildings of Ulster. It would have been interesting to hear what Charlie thought of Ashbrooke. Would he have classified it as middling or large? The front elevation stationed above a grass bank is simply divine. Aha, a haha. Five bay bliss. Formality | solidity | proportionality | materiality.

A study by Queen’s University Belfast confirms Ashbrooke’s walls are of buff pink sandstone: Ballyness Sandstone and Fermanagh Carboniferous Sandstone to be precise. This material has a lovely coloured textured finish. Just like the enigmatic standing stone on the estate. No pale smooth featureless Portland stone here. Ashbrooke House is the substantial dower house of an even larger property, Colebrooke Park. There’s an experiential reduction in scale and grandeur (yet no diminution of quality) as befits the generational decline from Viscountess to Dowager. They’re both by the same architect: William Farrell. The commodious Portaferry House in County Down is also by Will. His work has a sturdiness: an antidote to Adam style frippery. He was one of several early 19th century Dublin architects (others that spring to mind are John Bowden and John Hargrave) with country house practices. Writing in Buildings of North West Ulster, Professor Alistair Rowan summarises Ashbrooke as:

“A five bay, two storey front with big windows and a projecting solid porch with Tuscan columns. Above, a tripartite sash window. Shallow hipped roof, like the big house, but here supported on an eaves cornice with projecting stone mutules. The house has only one regular front, with a long wing behind. A plaque, in the stable yard behind, has the legend, ‘Built by Sir Henry Brooke Baronet, for the use of his tenants in the year 1830’.”

The 3rd Viscount and Viscountess Brookeborough have restored and revived and rejuvenated and reinvigorated and refurnished Colebrooke. “The house was cement rendered in the early 19th century,” notes the Viscount, Lord Lieutenant of Fermanagh and Lord-in-Waiting to the Queen. An 1891 photograph shows the south elevation in that state: the polygonal conservatory has since gone; the sunken garden was yet to come. An unpeeling revealed the rugged reddish sandstone underneath. Vast (seriously large – if anything, William Farrell got scale) reception rooms with Victorian wallpaper (and umpteen bedrooms) make it the ideal setting for shooting parties. Two paned sash windows frame uninterrupted views across the parkland.

In 1974, the executors of the 1st Viscount Brookeborough instructed Osborne King + Megran to auction the contents of the big house to cover death duties. Basil Brooke had been Prime Minister of Northern Ireland for two decades. The 2nd Viscount was also a politician. The 3rd Viscount’s brother the Honourable Christopher Brooke and his wife Amanda live in a new baronial style house on the estate. The Brooke family has been in Fermanagh since Sir Henry (High Sheriff, Governor and MP for County Donegal) was granted lands by Royal Patent in 1667. Military and public service have been something of a family tradition ever since.

In the family plot in Colebrooke Church of Ireland graveyard (a cornerstone dates the church 1765), one tombstone reads, ‘Here lies the body of Brigadier General Henry Francis Brooke eldest son of the late George Frederick Brooke of Ashbrooke and of the Lady Arabella Brooke born 13th August 1836 killed in action 15th August 1880 aged 44. He fell while commanding the sortie against the village of Dehkhoja during the siege of Kandahar, south Afghanistan, in the noble endeavour to save the life of a wounded brother officer Captain Cruikshank R.E. Greater love hath no man that this. That a man lay down his life for his friends. John 15.13.’

Amanda, a talented ceramicist who has exhibited at the Royal Ulster Academy, has turned her artistic hand(s) to decorating Ashbrooke House. It is available for parties or as a holiday let. All four reception rooms, eight bedrooms, six bathrooms and one kitchen (with Aga). The tack room and rabbit man’s cottage, outbuildings behind the main house, are now artists’ studios.

Hidden from the public for almost 200 years, now is the time for Ashbrooke House to be revealed. Literarily, not literally. Nestling in the 1,000 acre Colebrooke estate, it’s always going to be exclusive. The building is T shaped: a drawing room and dining room on either side of the entrance hall in front of an older lower wing. This arrangement allows for lots of light and airy dual aspect rooms. “I don’t like subdivided rooms so en suites are in former dressing rooms and other minor rooms,” explains Amanda. With typical 19th century disregard for convenience, the kitchen was originally located at the tip of the return. That is, as far as possible from the dining room. Not anymore. The new kitchen is next to the dining room and the old one is now a bright sitting room with exposed stone arches. Guests who can’t cook won’t cook never cook can rely on catering by French Village.

“The house had barely changed in 40 years,” she records. “But in restoring it we haven’t gone for the ‘interior designed’ look.” A more organic approach was taken: relaxed country house chic. With a few family heirlooms thrown in for good measure. A portrait of Eugene Gabriel Isabey dominates the drawing room; Reverend James Ingram guards the dining room. Architectural detailing is restrained in keeping with the exterior. The drawing room timber and marble fireplace was salvaged long ago from the ruinous Corcreevy House in Fivemiletown. Vintage fire extinguishers and milk churns marked ‘Colonel Chichester, Galgorm Castle, Ballymena’ are recycled as lampstands. There are one or two inherited colour schemes. The last Dowager’s choice of mustard walls in the dining room for instance. “That’s my late mother-in-law’s wallpaper,” smiles Amanda pointing to the trellis design zigzagging across the walls and ceiling of the blue bedroom. “Not the best for hangovers.”

Over dinner, distinguished Fermanagh architect Richard Pierce waxes lyrical about Ashbrooke: “The proportions are beautiful. The scale is beautiful. The setting is beautiful. You approach Colebrooke from above. You first see Ashbrooke from below. It’s very austere except for the porch. There’s a tremendous counterpoint between the centre and the rest. I like the fact it’s not showy. It’s quiet good taste but very good taste. What I feel about Ashbrooke is that it has a sense of neoclassicism you’d find in a St Petersburg dacha.” Amanda agrees, “There’s a purity to the design.”

“These houses aren’t museums,” Christopher believes. “They have always been sources of employment. They need to be run like businesses to survive.” He should know. He has turned Galgorm Castle outside Ballymena, another family property, into a thriving enterprise employing around 300 people. Gatelodges on the Colebrooke Park estate are holiday lets. Historically, the triumphal arch, still the main entrance to the estate, was a less successful venture. It was built for the arrival of Queen Victoria but at the last minute, she pulled a sickie. The Baroness was not amused.

It’s spring at Ashbrooke House. Dewy drumlins sprinkled with a dusting of daffodils and bluebells by day. And lambing by night: after dinner a midnight jaunt beckons across the estate to a barn full of Zwartbles sheep and lambs gambling amok. “Zwartbles sheep are very friendly and make great mothers,” observes Christopher. This Dutch breed has a distinctive blackish brown fleece and white forehead streak. Sure enough, in the wee small hours one gives birth to twin lambs. “It’s a far cry from Clapham Junction,” observes Amanda. She used to live near Lavender Hill.