Acute-angled intersections are common in Pittsburgh, and in business districts they produce some odd-shaped buildings. This one in Point Breeze has been tastefully modernized with an eye for what is most distinctive about it. The oriel over the entrance on the corner is especially appealing.
This stone house makes a fine impression as you walk by on Reynolds Street. If you just glanced at it, you might miss a very unusual feature: the corner windows in the front bedrooms on the second floor. Corner windows were very popular for a while in the middle twentieth century in modernist residences: they had the very practical purpose of leaving large expanses of wall blank for furniture or decorations. But it is not common to see them on a house that probably dates from about 1900.
This house probably dates from the 1870s, making it much earlier than the city neighborhood that filled in around it. Because Point Breeze is such a desirable neighborhood (this house is just around the corner from the Frick Art Museum), it has been worth the expense to restore this house to something like its original appearance.
This looks exactly like the gateway to a world of sylvan rest and rustic pleasure that it was meant to be. In passing we note that the gatehouse is actually a building, with a room on either side of the gate: we used to have staff to sit here and tend to park visitors’ needs.
The architect was a big deal for such a small structure: John Russell Pope. He had some famous commissions in Washington (that’s Big Worshington to residents of the South Hills): the Jefferson Memorial, the National Gallery of Art, Constitution Hall, and the National Archives, among other buildings. In Pittsburgh he is best known for the colossal Winter mausoleum at Allegheny Cemetery.
Henry Clay Frick really liked the Phipps Conservatory in Schenley Park when it went up in 1892. He liked it so well that he said, “I want one of those in my back yard,” and hired Alden & Harlow to design it. (You can do that when you’re a robber baron.) They gave him a miniature of Phipps Conservatory, with a central greenhouse large enough for substantial citrus trees.
These pictures were taken in March of 2000 with a Kodak Pony 135.
A panoramic view of the Walled Garden. Mellon Park was originally the Mellons’ back yard; the Walled Garden was designed by the landscape architects Vitale and Geiffert.
Until April 4, the Frick is hosting an exhibit called “Impressionist to Modernist: Masterworks of Early Photography.” The “early” part is debatable—the exhibit begins in the 1880s and concludes in the 1930s, by which time photography was already a century old. Father Pitt would call these works “middle” photography. There is no room for debate on the quality of the exhibit itself: all the artistic possibilities of photography as a medium are on display. It was enough to inspire old Pa Pitt to try some work in black and white, so here are some ducks:
Well, it’s not Steichen, but Father Pitt liked the ripply reflections of cattail stalks.
The gatehouse to Frick Park, across from the Frick Art Museum, at Reynolds Street and Homewood Avenue.
Helen Clay Frick built this charming Renaissance palace in her back yard to give the people of Pittsburgh a chance to admire her art collection. It’s a small collection—a Reynolds here, a Boucher there—but an extraordinarily rich one for its size. And in a city where the collective museum culture has decided that expensive admission fees are the rule, the Frick is always free.
A periwinkle flower (Vinca minor) blooms in a front yard in Point Breeze, taking advantage of a short thaw.
