We already saw the David Roney mansion; here are a few more houses on Judges’ Row, the line of mansions facing Riverview Park in Observatory Hill. Many of them can hardly be seen in the months when the leaves are on the trees, so we visited them in the late winter.
A few houses in different styles within one block of Perrysville Avenue. We begin with a house that, in its layout, is a typical Pittsburgh Foursquare, but blown up to mansion dimensions.
The porch with its rounded ends is a treasure, and we hope it can be preserved. Porches are the first things to decay in a house like this, and it would be hard to find a craftsman who could duplicate this one.
A later generation of foursquare; this one preserves a fine tile roof.
Yet another generously sized foursquare. This one combines some classical detailing with a bit of the Victorian incised decoration of a generation earlier.
This one is clearly a traditional Pennsylvania I-house from the days when this area was way out in the country on the Perrysville Plank Road. If we interpret the old maps correctly, it was there at least as early as 1882, but probably well before then. It was a frame house, however. At some point probably in the 1920s or later, it was neatly dressed in a new coat of bricks and given a new front porch.
This little cottage has a distinctive angular Craftsman style, and many of the details of its woodwork are well preserved.
Finally, here is a unique house that has just come out from under sentence of condemnation and is now being refurbished for a new life. The entrance with classical pilasters and rounded pediment is unusual and attractive, and the bright sunroom in front would make a fine small conservatory for an orchid collector.
The architects of this striking Tudor mansion on Judges’ Row (as this stretch of fine houses facing Riverview Park is still called in the neighborhood) were Allison & Allison, who also designed the Watson Memorial Presbyterian Church up the street. The Gazette for September 5, 1905, printed an illustration of the house with this description:
One of the most attractive houses started in Allegheny this summer is the residence of David Roney in Perrysville Avenue, which was designed by Architects Allison & Allison. The house is a good model of the English style of architecture, having the first story of gray brick and the second of plaster with half timber construction. A large brick porch adds considerably to the outward appearance. The residence will cost about $20,000.
These two houses both show an unusually ornate, almost baroque, form of Georgian style, and we imagine they were drawn by the same hand. They both now belong to the Byzantine Catholic Metropolitan Archdiocese.
The half-round projection on the front porch makes both an impressive and a welcoming entrance.
Picking out your baroque details in this color of paint is the next best thing to using actual gold leaf.
The carriage house matches the main house, right down to the distinctive lintels over the windows.
This house, which is now the chancery for the Archdiocese, has suffered a few more alterations. The big square window in the gable is not old Pa Pitt’s favorite thing, but it probably makes for a bright storage room.
Regular readers might have been disappointed if we had not included a good utility cable.
Perched on the side of a steep hill, this tiny schoolhouse was built in 1874.1 After Allegheny was conquered by Pittsburgh, this was known as the Milroy School (after Milroy Street, which passes on the right side of the school). After it closed as a school in 1938, it was used as community center called Milroy House, and then a preschool; and now it is abandoned and waiting for its next life.
The school appears to have had three classrooms: left, right, and rear.
A picture taken in 1923, when the building was already half a century old, shows how the school looked with its belfry and its real windows.
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.
This stone mansion on Acorn Hill, with its eye-catching combination of Gothic and modernist details, was designed by William C. Young and built in 1937.
“The above drawing by William C. Young, architect and builder, is of the model home being erected at the intersection of Watsonia Blvd. [now Marshall Road] and Norwood Ave., North Side, for Mr. and Mrs. John H. Phillips by the Young firm. The home is a combination of all that is modern in electrical equipment and labor saving devices with all that is charming and quaint from the old Norman English Architecture.” Old Pa Pitt thinks of “Norman” as implying the English branch of Romanesque rather than Gothic, but he will not argue about the charm.
The steps leading up to the house from Marshall Road are a masterpiece of romanticism in landscape design.
Acorn Hill is a little enclave in the larger neighborhood known to residents as Observatory Hill, and on city planning maps as Perry North. It has some unusually fine houses in a wide variety of styles, built up over a period of about half a century.
In any neighborhood this one would be an extraordinary house. It would not be out of place in the Darmstadt Artists’ Colony. The porch has been glassed in and the windows in the dormers have been replaced, but the house retains most of its architectural integrity. Father Pitt does not know the architect yet, but among the local architects known to have been influenced by those German and Austrian art magazines that found their way to Pittsburgh we may mention Frederick Scheibler, Kiehnel & Elliott, and Edward Weber.
Here is an interesting demonstration of how many Catholic parishes developed in the first half of the twentieth century, and a reminder of how ecclesiastical priorities have changed. Father Pitt does not know the whole history of this building, and perhaps a parishioner could fill us in. But the main outline is this:
The cornerstone tells us that the building was put up in 1925. But it tells us that this was the parish school—and indeed, if we look at the picture at the top of the article again, we can see that the lower level was built first. Many parishes built a school building first, and worshiped in a space in the school until they could afford to build a sanctuary. In Brookline, for example, Resurrection parish built its parish school first and worshiped in the gymnasium until the main church could be constructed. The Lutherans a couple of blocks away did the same thing: St. Mark’s still worships in the building that was intended to be the Sunday-school wing, with a much grander church that never went up next to it. It was taken for granted that the children would be educated, and in Catholic parishes it was taken for granted that there would be a parish school to give them their daily education; if priorities had to be set, the school went up first, because it was easier to adapt a school for worship than to adapt a church sanctuary for schooling.
In this case, the sanctuary was built on top of the original school, which was probably the plan from the beginning. We can therefore add this to our list of churches with the sanctuary upstairs, although, because of the steep Pittsburghish lot, the corner entrance is only seven steps up from the sidewalk.
The belfry is one of the most picturesque aspects of the building.
Now Emmaus Deliverance Ministries. Designed by John Lewis Beatty, this late-Gothic-style church was built in about 1925. (The cornerstone has been effaced, which old Pa Pitt regards as cheating, though he understands that a new congregation likes to make a new beginning.)
A Gothic church must maintain a delicate balance: it wants to be impressive, but it also wants to be welcoming. The simple woodwork over the entrances (this one is the basement entrance) gets the balance right: it fits well with the style of the building, matching the angle of the Gothic arches, but it sends the message that we’re just plain folks here.
