Here is a flourishing web of utility cables with a Gothic church behind them. The view above is old Pa Pitt’s best attempt at duplicating an old postcard view:
Not much has changed. The roof (originally slate-shingled) has lost the Gothic ornamentation at the top; exterior steps have been removed; the stonework at the top of the tower has been simplified, possibly after some decay or a lightning strike; and the corner entrance has been turned into a window.
This church was built in 1905 in a heavy, stony, romantic Gothic that was already somewhat out of fashion. It gives the impression of being equal parts church and castle. It now belongs to the Northern Area Multi-Services Center, a social-services organization that, to judge by its name, offers more than one service.
This church was built in 1924, and its streamlined Gothic style, in spite of the irregular stonework, carries a whiff of Art Deco. We’ve featured Bethany once before with views from its own side of the street. Here are some pictures from across West Liberty Avenue to give Bethany the honor of being our Easter church this year.
The church’s next-door neighbor is a gas station.
Addendum: The architect was O. M. Topp. Source: The American Contractor, December 30, 1922, p. 43: “DORMONT, PA. Church: $35.000. 1 sty. & bal. 45×90. W. Liberty, nr. Dormont av. Archt. O. M. Topp. Jenkins Arcade. Owner Evang. Luth, Congr., Rev. L. O. Burry, 3091 Texas av. Stone or brk. Drawing prelim. plans. (Note changes.)”
Now St. Paul A. M. E. Zion Church. This congregation had money in the 1960s, it would seem; a new sanctuary in 1960s modernist Gothic was grafted on the older Sunday-school and office wing, which is in a stony Jacobean style.
Designed by Ralph Adams Cram, this church has a more austere sort of dignity than the architect’s other two works in Pittsburgh, East Liberty Presbyterian and Holy Rosary Catholic. It apparently took some delicate maneuvering to get an Episcopal congregation with low-church sympathies (but lots of money) to accept a Gothic masterpiece.
Now Iglesia de Cristo León de Judá, the Knoxville Baptist Church was built in 1909; it is a typical small vernacular-Gothic church with some Arts and Crafts details. The architect was Thomas Hannah.1 The attractive indigo paint applied by the current congregation makes it stand out from others of its type.
Fundamentalist Christians in the United States have always had a deep suspicion of stained glass as creeping idolatry, but the Spanish-speaking Evangelical congregations are the most vengefully thorough about it. As soon as they take over an old church building, the stained glass is removed. Usually it is replaced with clear glass, but this congregation has blocked all natural light from entering the building. Photographs of services on line show that the interior is set up like a theater, and natural light would only interfere with the projections and spotlights.
Source: Record & Guide, March 10, 1909, p. 149. “Plans have been completed by Architect Thomas Hannah, Keenan Building, for a church and parsonage to be erected on Orchard street. Knoxville, for the Maple Avenue Baptist congregation. It will cost $30,000. Both structures will be of brick and stone.” In the original version of this article, we had not known the architect. ↩︎
Update: This church was demolished in August of 2023.
Now known as Shady Avenue Christian Assembly, after having spent many years as Shady Avenue Presbyterian Church (without the “Cumberland”).
Just down the street from the huge and spectacular Calvary Episcopal and Sacred Heart Catholic churches, each the size of many a cathedral, this 1889 church is likely to pass unnoticed. Once you do notice it, though, you will not stop noticing it. It is a bravura performance in a sort of Queen Anne Romanesque style by a Victorian architect who was about 22 years old at the time, and who was not afraid to pull out all the stops and stomp on the pedals for all he was worth. An entire issue of the East Ender, the East End Historical Society’s newsletter, was devoted to the architect, T. C. McKee (PDF), and we take all our information from Justin P. Greenawalt with profound gratitude for his research.
Thomas Cox McKee (usually known as T. C. McKee) was apprenticed to architect James W. Drum. But in 1886, when young McKee was still only 20, his master was run over by a freight train. Instead of looking for another apprentice position, McKee went out on his own and seems to have been successful right away. He later built a comfortable practice designing homes for the wealthy and small to medium-sized commercial buildings, along with at least one prominent school (the Belmar School in Homewood, still standing). Then, in 1910, he threw it all away and went to Cleveland, where he took odd jobs until he settled down as a designer of soda fountains. No one seems to know what happened, although Mr. Greenawalt’s article hints that it might have had something to do with McKee’s constitutional extravagance.
That extravagance comes through in every detail of this building. In the age of modernism, this sort of thing was dismissed as a bunch of Victorian noise, but the masses are balanced to form interesting compositions from every angle.
The much more conventional 1911 addition (although even it is a little bit fantastical) was designed by Rodgers & Minnis. Below we see it across the pile of dirt that used to be Shady Hill Center until the property became too valuable to host a suburban-style strip mall.
When Dormont was founded in 1909, its founders wanted to call it “Mount Lebanon,” the historical name of that part of the South Hills. There was some friction, however, with residents to the south of the new borough, who of course later adopted that name themselves. The result was that borough founders picked the nonsensical inside-out-French name “Dormont,” which as far as old Pa Pitt knows is unique in the world. Several institutions in Dormont, however, kept the name “Mount Lebanon,” among them two churches. This one closed in 2013, the same year Dormont’s Presbyterians and Methodists threw in the towel. The building, however, has been kept in good shape. Built in 1930, it is a fine example of the streamlined Gothic influenced by Art Deco that was popular in the 1920s and 1930s.
Vine decorations under the entrance arches.
The sign along West Liberty Avenue matched the stone and style of the building.
Now Calvary United Methodist Church, this church is known for its stained glass by the Tiffany Studios. It was built in 1892–1895; the architects were Vrydagh & Shepard and T. B. Wolfe.1 The exterior is a feast of elaborate and often playful Gothic detail.
Vrydagh and Shepard were the Kansas City firm of Martin U. Vrydagh and Charles E. Shepard. Martin Vrydagh would soon move to Pittsburgh and change his spelling to Vrydaugh; Shepard’s name is misspelled “Shepherd” in most Pittsburgh references, including the PHLF plaque on the church. ↩︎
This long-lens view from Mount Washington shows us how architect William P. Hutchins crammed as much church and diocesan office space as possible into a tiny downtown lot. The church was built in 1936 in a part of town that was not the most fashionable at the time, and the location and the Depression probably account for the general modesty of the structure. But within its modest limits, it certainly makes the most of its lot.
Hutchins is not one of our most celebrated architects, but he did give the Catholics in Pittsburgh some distinguished buildings. An article about St. James Church in Wilkinsburg gives us some more information about him.
Old Pa Pitt was about to link to some of his earlier pictures of St. Mary of Mercy and discovered that he never published them. Here are a few pictures from ground level.
