Designed by the Akron architect William P. Ginther, St. Philip’s presides over a prominent spot in the middle of Crafton, and its lofty spire can be seen from all over the borough.
Mr. Ginther’s other works in our area are Immaculate Heart of Mary, Polish Hill, and St. Mary’s in McKees Rocks. His churches are concentrated in eastern Ohio, but he designed several others in Pennsylvania and New York and even as far away as California. On one of his other sites, Father Pitt has pictures of St. Bernard’s Church in downtown Akron and St. Joseph’s Church in St. Joseph, Ohio.
The rectory, with its stone below and brick above, makes a good transition between the church and the school next door, and we would not be surprised if A. F. Link, architect of the school, designed it for exactly that purpose.
In the late 1800s, frame churches with acres of shingles, like this one, went up all over the Pittsburgh area. Few have survived; most of them were later replaced by larger and more substantial buildings. Even fewer have survived with their shingles and wood siding intact. Although the congregation dissolved in 2022, this building has been taken over by a catering company that has kept it in original shape.
St. Henry Church has been abandoned for years, and it is slowly rotting away. Yet the neighborhood still remembers it as a point of pride: when Father Pitt was taking pictures along Arlington Avenue the other day, some locals stopped to talk and immediately asked, “Did you see our church?”
And, of course, our utility cables.
St. Henry was designed by Marlier & Johnstone and built in 1952, when the neighborhood was thriving.
Each of those squares had a symbolic relief at its center, with a big metal cross in the middle of the façade. Those have all been taken away, because when Catholics abandon a building, they generally preserve whatever is unique and valuable about it and place it in another parish if possible. It does leave the building looking stripped, but we can understand the impulse.
The entrance is sharply drawn in a style that flavors modern with just a bit of late Art Deco.
An abstract cross-topped cupola.
An exhibition of utility cables.
The rectory is older than the church; it is hard to guess the age of it, and it has been added to in various eras and various styles.
The school next to the church has been abandoned twice. It was a public primary school for a while after the parochial school closed, but the public school closed a few years ago.
Built in 1905–1909, St. Andrew’s was designed by Carpenter & Crocker, who seem to have been favorites among the Episcopalians of Pittsburgh: they also designed the parish house for the cathedral downtown and St. James’ in Homewood, now the Church of the Holy Cross. This building is dominated by its outsized tower.
Very grouchy gargoyles guard the tower.
An ornamental pinnacle on one corner of the tower.
Edward J. Schulte was a master of the modern in ecclesiastical architecture. Wherever he went, all over the United States, he left churches that were uncompromisingly modern in their details, but also uncompromisingly traditional in their adaptation to Christian worship. St. Anne’s, which was finished in 1962, is a fine example of his work.
A date stone on the grounds.
The details are modern, but the form of the church is perfectly adapted to the ancient Christian liturgy. Too many modern architects expected the liturgy to adapt to the building, but Mr. Schulte obviously knew Christian tradition.
We might point to the baptistery as an illustration of what we mean.
It’s a strikingly modern building, bang up to date for the Kennedy administration. But in its form and position it reminds us of…
…the Baptistery of Neon in Ravenna, seen here in a photograph from A History of Architecture in Italy by Charles A. Cummings (Boston: Houghton, Mifflin and Company, 1901). Built in the late 300s or early 400s, it was originally an extension of a large basilica, just like this baptistery. The one in Ravenna is one of the oldest Christian buildings still standing; Mr. Schulte reached right back to Roman imperial days to find his inspiration.
The most striking feature of the church is a detached bell tower more than a hundred feet high.
The tower was donated by the United Steelworkers of America in honor of Philip Murray, the union’s first president. St. Anne’s was his home parish, and he is buried in St. Anne’s Cemetery.
A relief of St. Anne and St. Mary is accompanied by a quotation from Psalm 44 in the Vulgate numbering (Psalm 45 in the numbering used in Protestant and newer Catholic Bibles).
The (liturgical) west front of the church1 is a balaced composition in geometry and symbolism.
Some roof work was going on when old Pa Pitt visited. (Update: A parishioner informs us that the work was in the basement, including an elevator, which is doubtless why we saw workers on the roof.)
In traditional churches, the altar end is always referred to as “east,” even when it is not in the east by the compass. The end opposite the altar, where the main entrance is traditionally placed, is thus the west, and if—as in this case—the compass says the west front faces northeast, then the compass is entitled to its opinion. ↩︎
Designed by Allison & Allison, this stony Romanesque church was renamed Riverview Presbyterian in 1977, when, we suppose, no one remembered Watson anymore. After sitting vacant for a while, it now has a nondenominational congregation called Pittsburgh Higher Ground, and we wish them long life and prosperity in this beautiful building.
Old Pa Pitt thinks writers on architecture tend to throw the name “Richardsonian” in front of the term “Romanesque” far too thoughtlessly, but there is no question about this church. It is very Richardsonian, right down to the little triangular dormers on the roof. Compare them to the ones on Richardson’s famous Emmanuel Episcopal Church in Allegheny West:
This is the architectural equivalent of a direct quotation.
Now Zion Christian Church. The cornerstone tells us that the congregation was founded in 1908, and its first building was at the corner of Birmingham Avenue and Hays Avenue (now Amanda Street)—a small frame chapel that must have quickly become woefully overcrowded, since this building many times the size was constructed less than twenty years later.
Plat map showing the original location of Bethel Baptist.
“The membership is 381, as compared with a membership of 30 in 1908,” says the Gazette Times of February 18, 1925, when the plans for the new building were announced.
Pittsburgh Gazette-Times, February 18, 1925
The architect was Walter H. Gould, “a member of the church,” and so far this is the only building attributed to him that Father Pitt knows about. However, it is an accomplished if not breathtakingly original design, so there must be other Gould buildings lurking about, probably in the South Hills neighborhoods. Comparing the published rendering above with the church as it stands today shows us that the tower grew about a floor’s worth of height between conception and construction—a rare example, perhaps, of an architect being told that his original design was not ambitious enough.
For about a century and a third, this church was one of the main centers of life in Bloomfield. Now that all the Catholic churches in Bloomfield are closed, incredible as it may seem in our most Italian neighborhood, an Italian Catholic who lives in Bloomfield cannot walk to Mass without making a serious expedition of it.
The church was built in 1886; the Pittsburgh History & Landmarks foundation attributes it to Adolf or Adolphus Druiding, who also designed Ss. Peter and Paul in Larimer/East Liberty. However, an expert in the works of E. G. W. Dietrich (see the comment below) was kind enough to correct that attribution. The church was designed by the partnership of Bartberger & Dietrich, as we learn both from an article at the laying of the cornerstone and an illustration of the church in the Builder and Wood-Worker for June, 1889, where it is attributed to Bartberger alone. Charles M. Bartberger and E. G. W. Dietrich were partners for about three years, from 1883 to 1886, before Dietrich moved to New York, which he seems to have done while this church was under construction. Father Pitt has updated his attribution based on this evidence, with many thanks to our correspondent.
Originally the Wallace Memorial Presbyterian Church. In 2013, Dormont Presbyterian Church closed, and its congregation merged with this one; the two congregations together took the appropriate name Unity.
The current church building was put up in 1952 in the fashionable New England Colonial style; it’s a good example of that type.
The smaller Gothic church replaced by the 1952 church is still standing next to it, now in use as a music school.
