Built in 1960, this church adopted a radically simplified Byzantine architecture. It is much smaller than its Ukrainian Orthodox (formerly Ukrainian Greek Catholic) neighbor St. Mary’s around the corner, but both congregations continue to inhabit the same neighborhood without throwing bricks at each other.
The attached rectory is in an equally simple style; the pasted-on false shutters are an attempt to make it feel less institutional.
Now billing itself as just an “Orthodox” church, since the Russian Orthodox church in America became autocephalous in 1970 and has long included a broad spectrum of ethnicities. This church was built in 1914, and the architect was George W. King—a name that so far does not appear anywhere else on old Pa Pitt’s Great Big List of Buildings and Architects. “King” does not sound like a particularly Russian name, though Ellis Island could do funny things to people’s names. But he certainly seems to have captured the spirit of Russian church design, and these onion domes are one of the most distinctive features of the skyline of the Bottoms.
After the baroque elaboration of the church, the rectory seems almost ruthlessly plain. But it does its job well: it matches the church in materials, thus showing its association, but it directs all attention away from itself and toward the church, which seems theologically appropriate.
If you have ever come up the Ohio or across the McKees Rocks Bridge, chances are you have noticed this gold-domed tower rising from the McKees Rocks Bottoms. You would not have had time to appreciate the details, but appreciate them now. Just the tower is a remarkable piece of work. But the whole church is something extraordinary, and worth a visit to the Bottoms to see. Since the Bottoms is a neighborhood of surprising architectural riches, you will probably find yourself distracted by a dozen other wonders before you leave.
Holy Ghost Greek (now Byzantine) Catholic Church is a startling outcropping of Art Nouveau in a neighborhood where we never expected to find it. The design was the work of McKees Rocks’ own John H. Phillips, as we know from the cornerstone.
Here we have the date, the name of the architect, and the name of the contractor, along with the name of the pastor. There was one other church architect in Pittsburgh who routinely put his own name and the name of the contractor on cornerstones in florid Art Nouveau lettering, and that was Titus de Bobula. Looking at the style of this church, with its radical and constantly surprising Art Nouveau ornamentation, Father Pitt forms the hypothesis that Phillips knew of Titus de Bobula’s work and was strongly influenced by the eccentric Hungarian.
The corner cross picked out in bricks is wildly different from anything you have seen before. To the right of it we also see a variant of the square above a downward-pointing triangle that seems to have been a kind of signature for Phillips, appearing on at least three of the four buildings of his that Father Pitt has so far identified.
The church behind the front is more conventional—which is also true of Titus de Bobula’s churches. Both de Bobula and Phillips relied on elaborate fronts to make their grand impression.
Certainly this tower makes a strong impression. There is nothing else quite like it in Pittsburgh. The variation of detail in the bricks is remarkable. But the forms are harmonized very cleverly, with each level echoing shapes from the other two.
Phillips also designed the Ukrainian National Home around the corner, and Father Pitt hopes to identify more buildings by him in McKees Rocks. He has joined Pittsburgh’s exclusive little club of early modernists, and old Pa Pitt is delighted to make his acquaintance.
Now New Culture Church, this little Gothic building and its attached parsonage make the most of their steeply sloped corner lot. We note that the minister would have had to go up the equivalent of two storeys to get from his parlor to the church sanctuary right next door.
The domes of St. Nicholas Russian Orthodox Church in the McKees Rocks Bottoms.
Nikita Khrushchev visited Pittsburgh during his reign, and there’s an amusing legend about his trip in from the airport. He was being driven in along the Ohio River Boulevard, which was the way to get downtown before the Parkway West was finished, and he saw the skyline of the McKees Rocks Bottoms out the window. Khrushchev was convinced that the Americans had built a Russian Potemkin village to fool him into thinking…something. His American minders tried to explain that Pittsburgh is just like that, but Khrushchev couldn’t be fooled.
The legend may be apocryphal, but like most such legends it tells us more about the people who told the legend than it does about the person it was told about. Pittsburghers were intensely proud of exotic landscapes like the Bottoms, and thought of them as things that made their city unique in America.
St. Josaphat’s is one of the most unusual of John T. Comès’ works. It has some of his trademarks, notably the stripes—he loved stripes. But it also takes more inspiration from Art Nouveau than most of his churches, which are usually more firmly rooted in historical models. It is now having some renovation work done to fit it for its post-church life.
This beautiful and tasteful Colonial Revival church by the Beezer Brothers was featured in the December 15, 1900, issue of the American Architect and Building News. You search Google Maps for it in vain today, and you may be thinking what a shame it is that it disappeared.
But it didn’t disappear. It’s still there.
It looks a little more working-class now, but it’s recognizably the same building. Is there a tasteful and wealthy congregation looking for a church? This one is ripe for restoration.
We have seen this especially fine church before, but since old Pa Pitt was out walking on Potomac Avenue in early-evening light, he decided that we could see it again. It is now the Dormont campus of the nondenominational North Way Christian Community, which fortunately has the money to keep up the exterior.
The parsonage is just the sort of elegant and respectable dwelling you need for your Presbyterian minister. With a broad English Gothic arch at the entrance to link it to the church, it makes a good transition between the monumental church and the prosperous merchant-class houses on Espy Avenue.
Addendum: Father Pitt tentatively attributes the church to Chauncey W. Hodgdon. Mr. Hodgdon was hired to supervise alterations in 1914, and it was considered unethical for another architect to alter or add to a building within a few years of its construction unless the original one refused, or was unavailable, or was rejected by the client.
Edward B. Lang designed this church for a Slovak congregation in the McKees Rocks Bottoms; it was built in about 1914.1 The church is not a church any longer, but it has been in use as an antiques auction gallery and thus has not been allowed to decay too badly. Through the magic of twenty-first-century technology, we can see the whole front of the church, right up to the cross on the steeple, almost the way the architect saw it in his imagination, although he probably was not imagining those utility cables draped across the front of the picture.
