From our sister site Flora Pittsburghensis we borrow this picture of a very happy bumblebee bathing itself in the pollen of a Cut-Leaf Teasel (Dipsacus laciniatus) in Cranberry Township.
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McCune Mausoleum, Allegheny Cemetery
This extraordinarily tasteful Renaissance octagon (built in 1925) is so unusual that Father Pitt suspects it may be based on a historical model. He would be delighted if one of his readers could find the original and point it out to him. John Robison McCune III was a banker, head of one of the biggest banks in the city (Union National, which after being devoured by Integra and National City is now part of PNC).
The interior is as elegant as the exterior. McCune took nothing of his private life with him to the grave—no Masonic or even religious symbols. His mausoleum, including the exceptionally fine window, is dedicated solely to beauty.
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The Egyptian Style in Allegheny Cemetery
In Pittsburgh the Egyptian style of architecture was briefly popular in the early twentieth century, almost always in association with death. The mausoleums in Egyptian style seem usually to belong to Masons, who trace their lodge and rituals back to the days of the Pharaohs, implausible as that may seem to Egyptologists. Some integrate Christian, Masonic, and Egyptian symbols rather uncomfortably.
We begin with the Hartley-Given mausoleum (1913).
This is a simple and straightforward interpretation of an Egyptian tomb, and we can see the elements that, in the Allegheny Cemetery, almost invariably mark the Egyptianness of the style: the sloping sides and the lotus columns. Over the entrance we usually find a winged scarab entwined by serpents—which Father Pitt believes is a Masonic symbol; perhaps a Mason will correct him if he is wrong.
Next, the Lockhart mausoleum (1903):
Here is another typical Egyptian-tomb design, again with the requisite Egyptian signifiers; but in this one the porch projects from the structure instead of being inset.
The Sproal-Splane mausoleum (1917) is another variation on the same theme, with all the same elements and another inset porch:
Inside is a window that seems like a riot of symbols uneasily coexisting:
(The inscription around the cross and crown reads “IN HOC SIGNO VINCES.”)
All these are in reasonably good taste. But there is one Egyptian mausoleum that proudly flaunts its kitsch, one of the most extraordinary memorials in a cemetery full of extraordinary memorials:
All the same elements are there, but the Winter mausoleum (1930)—whose colossal scale is hard to convey in a photograph—adds its own unique accessories. John Russell Pope, the famous beaux-arts architect, designed this mausoleum for banker Emil Winter—but “designed” is not really the right word here. The Woolworth mausoleum in Woodlawn, the Bronx, is nearly identical; Winter apparently saw it and told Pope “I want that,” and Pope gave it to him.
Mr. Winter’s amazing sphinxes bear an expression that old Pa Pitt can only describe as “snooty.”
The bronze door depicts Mr. Winter himself, large as life and in full Pharaonic regalia, about to set off for his journey into the afterlife. Even this is identical to the bronze door of the Woolworth mausoleum, except for the substitution of Mr. Winter’s face.
Inside is a stained-glass window that reminds Father Pitt of cheap illustrated Sunday-school handouts, showing Mr. Winter properly enthroned. (It was devilishly hard to get a picture of this window, because the front doors are actually backed by a mesh screen. This was the best old Pa Pitt could do.)Finally, as a coda to our little Egyptian tour, the Huhn monument is actually a pyramid.
This is a pyramid of a curiously specific type: it is (if Father Pitt’s architectural history is correct, and he loves to be corrected when he is wrong) a Roman interpretation of the Egyptian pyramid, with proportions more like those of the Pyramid of Cestius along the Appian Way than like those of a true Egyptian pyramid. This also is a Mason’s tomb; if you enlarge the picture (by clicking on it), you can see the Masonic symbols at the base. -
St. Augustine
St. Augustine reads to the people of Lower Lawrenceville from the front of the church that bears his name.
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J. B. Ford Mausoleum, Allegheny Cemetery
J. B. Ford, founder of Pittsburgh Plate Glass, has one of the grandest mausoleums in the Allegheny Cemetery, which is saying a good deal. The town of Ford City is named for him. It would be an interesting study to survey the Allegheny Cemetery and find how many of its residents have towns named after them; one might well find that there are more people with towns named after them here than in any other cemetery in the country.
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New Facade for the Liberty Tunnels
After years of work, the Liberty Tubes (spelled “Tunnels” but pronounced “Tubes”) are finally getting their new facades at both ends. This is the downtown end, seen from the end of the Liberty Bridge. The new facades will be very much like the 1924 originals, which were replaced by a pair of mid-century boxes that were a satire on International-style architectural trends, masking a naturally arched structure with a false rectangular front. At left, we can see the wooden arch form in place; at right, the completed arch for the southbound tube. -
Downtown from the North Shore
The whole North Shore of the Allegheny opposite downtown has been turned into parkland, where you can stroll, bike, or even rent a kayak—or just sit and enjoy a spectacular urban landscape. -
Alcoa Building, North Shore
The new Alcoa Building, like the old, is a tribute to aluminum. Here we see the end of it that faces Sandusky Street, at the foot of the Andy Warhol Bridge.
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Fulton Building and Byham Theater
The Fulton Building, with its enormous arch, has been turned into a luxury hotel right in the heart of the theater district. It is so much in the heart, in fact, that the entrance to the Byham Theater goes right through the Fulton Building, and the marquee is on the Sixth Street front of it. Many theater-goers probably never realize that, by the time they have navigated the long foyer and ended up in the real lobby of the theater, they have gone all the way through one building and ended up in another. That low brick building to the left of the Fulton Building is the theater itself—downtown’s oldest working theater, built in 1903 as the Gayety vaudeville house (originally with its entrance on the river side), and later known as the Fulton until the Byham family paid for a major renovation in 1996. Behind the theater is the CNG Tower, a landmark of 1980s postmodernist architecture that presents radically different views from different angles.
