
This Fourth Avenue tower is smaller than some of the others, but just as splendid as its most ostentatious neighbors. It was designed by Alden and Harlow in their usual exquisite taste.
On the left, the arms of Allegheny County; on the right, the arms of the City of Pittsburgh.
Allegheny County.
Pittsburgh.
Addendum: The sculptures are by Charles Keck, who also worked with architect Henry Hornbostel on numerous other buildings, including Soldiers and Sailors Hall.
Forever overshadowed by its taller neighbor the Frick Building, the Allegheny Building, built in 1906, is also by Daniel Burnham, and also a Frick project. It is one of his spare, almost modernistic designs, and it is fascinating to see how well the classical vocabulary adapts to twentieth-century simplicity.
Pittsburgh is a colonial-era city, but downtown has been rebuilt so many times that not much is left from before the Civil War. This building probably dates from the late 1840s, making it one of the oldest remaining downtown. It probably came after the Great Fire of 1845, but it appears in this engraving of the Diamond as it appeared before 1852, which was the year the old courthouse in the middle was torn down.
The building in the background, with smoke rising from its chimneys, is clearly meant to be this one. There are eleven columns of windows in the engraving instead of the nine columns of windows we see today, but old Pa Pitt suspects the engraver was working from a rough sketch and simply gave us his best guess.
The Warner was one of the great silent-movie palaces downtown, but it had the misfortune to be placed far from the theater district along Penn Avenue. In the 1980s most of it was demolished for a shopping arcade, leaving the classical façade on Fifth Avenue and the distinctive lighted sign, with the word “Theatre” replaced by “Centre,” because the shopping-arcade and movie-theater industries share an assumption that British spellings attract more customers. The shopping arcade, like most arcades downtown, gradually transitioned to mostly offices. But the sign still dominates the view down Fifth Avenue.
The Kaufmann’s building at Fifth and Smithfield was designed by Benno Janssen, who gave it a facing of ornate terra-cotta tiles. Compare these decorations to the similar ones on Janssen’s earlier Buhl Building farther down Fifth Avenue.
The prolific Charles Bickel designed this well-balanced Romanesque building, two doors up from another one of his Romanesque creations on Liberty Avenue, the Maginn Building. Below we see both of them in context, with, of course, a bus coming toward us, because old Pa Pitt likes to do that.