What makes Belvedere House unusual is not simply its age but the way its fabric openly contradicts itself: the brickwork changes character at first-floor level, the granite quoins grow wider apart, and flush sash windows, which were effectively legislated out of existence in the 1720s because they caused timber to rot, still sit in their original moulded sills. The building reads, for those who know what to look for, like a palimpsest of decisions made and unmade across generations.

The Civil Survey of 1654 to 1656 records the site as a 'faire brick house, slated on the lands of James Bath of Drumconragh, at Drishoge', and it subsequently became the seat of the Coghill family. Sir John Coghill, Master in Chancery, was resident here in the late seventeenth century. In 1725 the house was leased to Henry Singleton, a Drogheda lawyer, who set about renovating it and added a drawing room to the rear. The physical evidence of that layered history is still legible in the fabric: bolection panelling, a decorative form of raised moulded panelling popular around the 1660s, survives in the hall and front chambers, alongside tall doorways, relatively thin doors, and panelling over the windows with window seats beneath. A drop beam across the ground-floor ceiling may be an original roof joist. At the rear, an eighteenth-century staircase and a circular roof light were inserted, and the upper floor gained two suites of rooms with plain and decorated cornices. The front balustrade, added around the turn of the eighteenth century, appears to have replaced an earlier pediment. Structurally, the walls are built of an inner and outer skin of brick around a rubble core roughly 0.6 metres thick, a construction method that invites comparison with the seventeenth-century phase of Eyrecourt Castle in County Galway.

Belvedere House is absorbed into the campus of St. Patrick's Training College in Drumcondra, and access depends on the college's own arrangements. Visitors with a particular interest in early modern Irish domestic architecture will find the exterior rewarding enough, but the interior details, the surviving panelling, the anomalous brickwork transition, and that ambiguous ceiling beam, are where the real conversation between the centuries is taking place.