According to the parish history at the diocesan site, this church was built in 1900, after previous buildings had been destroyed by fire twice in the 1890s. In old Pa Pitt’s opinion, the black tinted window coverings do the church no favors, but no one asked him.
Behind the church is a cemetery remarkable for its precipitous slope, which makes it necessary for some plots to be terraced.
The little village of Rennerdale sits halfway between Carnegie and Oakdale on the Noblestown Road. This corner-tower frame church, with its Colonial-style details, reminds us of the Noblestown Methodist Episcopal Church designed by James Allison; and since we know that Allison designed other buildings in the area, it would not surprise us to find that he was responsible for this one. It has been swathed in artificial siding, as our few surviving frame churches usually are; but the siding men did an unusually good job of making sure that the windows and doors were properly framed. The church still belongs to its original congregation.
There’s still a bell in that belfry.
“Mrs. Thaw’s chocolate church” was what the neighbors called it, since the brownstone church was largely built with Thaw money. The architect was Theophilus P. Chandler, Jr., a name that sounds as though its bearer was summoned into being to have his suspenders cut by the Marx Brothers.
More pictures of Third Presbyterian.
A magnificent building that takes full advantage of a magnificent site, right at the busy corner of Forbes and Braddock Avenues. It was dedicated in 1930; the architects were Ingham & Boyd, who abstracted the Gothic style into a cool and elegant modernism that does not look dated at all almost a century later.
When the cornerstone was laid on November 17, 1928, the Press described the planned facilities:
The new church will be of early English gothic style of architecture. The contract for the erection of the church has been awarded to Edward A. Wehr, noted builder of a number of famous churches in Pittsburgh and other cities. The seating capacity of the new edifice will be slightly in excess of 600. The exterior walls will be of Indiana limestone. The roof will be an “open timber” roof, with wood trusses exposed. In the vestibule, oak paneling will be used to the top of the doors, with plaster above and an oak beam ceiling. The floor of the vestibule will be tile. Paneled and carved woodwork will be used at the front of the auditorium, the pulpit, reading desk, choir gallery and organ screen being designed as a unit to create a focal point in the design at this location. Temporary windows will be of leaded glass of good quality, in the hope that from time to time these temporary windows may be replaced with memorial windows of stained glass, of high quality in design and workmanship.
That the assembly room on the ground floor may be used as a social room as well as for Sunday school purposes, a temporary kitchen has been arranged for, adjoining. At the opposite end of the assembly room, shower baths and locker rooms have been provided in accordance with the original intention of using this room for recreational purposes also.
—“Sunday Service to Mark Start on New Church,” Pittsburgh Press, November 17, 1928, p. 5.
This picturesque church, built for the Swedenborgian Church of the New Jerusalem in 1930, still serves its original congregation, now under the name “The New Church.” The architect was Harold Thorpe Carswell, who had been an apprentice of Ralph Adams Cram; to judge by the few references to him on line, this is one of his best-known works. Few Pittsburghers ever see it, however, because it sits at the end of a one-block dead-end residential street in Point Breeze.
The inscription, in florid medievalistic lettering, reads, “Nunc licet intrare in arcana fidei”—an abridged quotation from Swedenborg, which we may translate as “Now we are permitted to enter into the hidden things of the faith.”
The attached school is in a complementary Tudor style.
With almost complete confidence, old Pa Pitt attributes this Episcopal church to Ingham & Boyd. It speaks the same dialect of Gothic as some of their other churches, and they are known to have designed the parish house that was built just before the church. However, Father Pitt has not yet found the documentary evidence that would remove the “almost” from his statement.
The cornerstone was laid on October 5, 1930. At the same time, one stone taken from the foundation of Old St. Luke’s in nearby Woodville was also laid in the foundation of this church, to tie it to the pre-Revolutionary tradition of Episcopalianism in Allegheny County.1
This parish house is known from several listings to have been the work of Ingham & Boyd,2 and it was built just a little before the church itself. The architects looked to vernacular Western Pennsylvania farmhouses for their inspiration. We do not know what inspired the designer of the modern vestibule.
Yesterday we looked at the Oakdale Public School, one of the earliest commissions for James E. Allison. Here, just a short distance to the west in the old village of Noblestown, is another Allison building1 from a little over a year later—a small frame church that, although it has been coated with artificial siding, still retains some of its distinctive character. The form is the irregular square popular in small Romanesque churches of Victorian times, but the details are Georgian, including the big window. The half-round protrusion in front indicates a Sunday-school room built on the popular Akron Plan. The congregation dissolved a few years ago, but the building is in use by a veterans’ organization called Heroes Supporting Heroes.
Gustavus Adolphus was a Swedish congregation that began in Lawrenceville, but in 1908 it bought this lot at Evaline Street and Friendship Avenue. O. M. Topp, the favorite architect among Lutherans, was commissioned to design this imposing Gothic building.1
The cornerstone was laid in a howling storm on July 13, 1908,2 and the church was completed in seven months—except for the main auditorium. It seems the congregation ran short of money and worshiped in the basement social room for several years. The main church was finally finished in 1916.
The church is now called Evaline Lutheran, but it is still Lutheran, and its spires still point heavenward—an unusual survival: probably a majority of churches of the era have lost their spires and must be content with bareheaded towers. It also has not been cleaned of its historic soot, making it one of our increasingly rare black stone churches.
The Tudor-style parsonage next door was also designed by Topp and built at the same time; it was connected with the church through the pastor’s study.
T. Ed. (for Thomas Edward) Cornelius was the architect of this little Arts-and-Crafts Gothic church.1 Cornelius was a lifelong resident of Coraopolis, but he flourished for decades as a designer of small to medium-sized projects all over the Pittsburgh area. This building has not been a church for quite a while, but its current owners keep it up neatly, though they have adapted it to radically different uses.
This old church was built in 1872, just a few years after the Civil War. It is now (according to neighbors) used for storage of lumber and building materials. Because money is not spent on extensive alterations, storage is, from a preservation point of view, one of the best uses that can be found for a church. Several Southern churches from the 1600s were preserved because they were turned into barns in the late 1700s, when the future Bible Belt was the most irreligious section of the country.
Inscription: “St. John’s German United Evangelical Protestant Church, A. D. 1872.”
