
A parade of the largest, though not the tallest, monolithic columns in the world.
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A parade of the largest, though not the tallest, monolithic columns in the world.

This beautiful and slightly fantastical house is tucked back in the woods in Squirrel Hill. Not long ago, a small group of Benno Janssen’s fans, among whom old Pa Pitt certainly counts himself, were given a tour of the house by the current residents, whose memorable hospitality made the occasion a delight. The details of the house are beautifully preserved, and with the owners’ permission we present a few of them here, beginning with one of the distinctive copper dormers.




Ascending the main stairway leads to a surprising revelation: all the doorways upstairs are Gothic arches, including the large closet at the head of the stairs.




The metalwork in the house is by Samuel Yellin, a Ukrainian artist in Philadelphia who ornamented many Janssen buildings.



Downstairs in the kitchen is the original range, which has had some spiffing up but needed no thorough reconstruction. It is still the main cooking apparatus for the house.

The rear of the house opens on a beautiful shaded slope that terminates abruptly in a forested cliff, because this is Pittsburgh. The current owners added a new dining room in the rear, carefully matched to the original house in its details.



You may have noticed that windows are few in this house: French doors take the place of most windows. They can be flung open for generous air circulation, and the louvered shutters still shut over the openings.



Like most Janssen designs, the house uses simple lines, exactly the right number of them, and relies on carefully chosen materials—like these irregular roof slates and copper dormers—to add satisfying texture.

More Schenley Farms houses in the snow (many with bonus icicles), beginning with this 1909 house, designed by Vrydaugh & Wolfe.

We have not yet found an architect for this lavish Tudor house, built in 1906.


Another one whose architect we don’t know yet, also built in 1906.

A free interpretation of Colonial by Alden & Harlow, built in 1921.

Designed by Louis Stevens and built in 1911.

Designed by Benno Janssen and built in 1912.

Designed by Simpson & Schmeltz and built in 1909.


Designed by Rutan & Russell and built in 1909.

Designed by C. E. Mueller and built in 1908.

Designed by Simpson & Isles and built in 1914.

Benno Janssen was one of the titans of Pittsburgh architecture, but even titans take on small projects once in a while. This is a fairly ordinary house on an ordinary street in Brookline, but it was designed by the firm of Janssen & Abbott.1 In spite of revisions that have changed some of the original character, it seems to retain some of the elegant simplicity of Janssen, who never wasted a line.

The front door is set back on the side of the house, which allows a broad front living room opening out on the porch, without dropping visitors right into the living room when they arrive—a clever way of making a narrow lot seem less restrictive.


Back when tuberculosis was incurable, the best medical wisdom held that plenty of fresh air was essential for tuberculosis patients. Thus this hospital for tuberculosis was given a parklike setting with plenty of pleasant areas for sitting around in the healthful outdoors. Now that it is a retirement home called Milliones Manor, the beautifully landscaped grounds are just as welcome.


The main building was designed by E. P. Mellon, nephew of Andrew Mellon. Other buildings—Father Pitt has not sorted out which is which—were designed by other local stars, including Benno Janssen and Ingham, Boyd & Pratt.







The late Franklin Toker believed that these houses were probably designed by Frederick Scheibler. He was following the original scholars of Frederick Scheibler, Shear and Schmertz, who brought poor old Scheibler out of obscurity in his old age in time to see himself hailed as a prophet of modern architecture.
Father Pitt hates to contradict Dr. Toker, whose encyclopedic knowledge of Pittsburgh architecture was probably unmatched; but Toker has been wrong before. Martin Aurand, whose biography of Scheibler will probably remain the definitive one for generations to come, lists these houses under the “misattributions.”
Old Pa Pitt himself is of the Aurand opinion, and in fact Father Pitt has probable grounds for attributing these houses—without, however, claiming complete certainty—to Benno Janssen. His reason is that there is a very similar terrace in Oakland (368–376 McKee Place) that is almost certainly by Janssen & Abbott. It would be odd if one of these terraces were by Janssen & Abbott and the other by Scheibler.



These houses are yet another clever answer to the question of how to design a terrace of relatively inexpensive houses so that they are architecturally attractive and distinctive—so that, in other words, they make potential tenants think they’re getting something special. Compare them, for example, to the row just next door to the left, which was built on a lower budget to a much more ordinary design.


Which design makes you feel special?


Benno Janssen and Edward J. Hergenroeder were the architects of this school, which seems to show the economy of line old Pa Pitt associates with Janssen. Hergenroeder would go on to design many Catholic schools, as well as the convent around the corner from this one (which we’ll be seeing soon).
The parish school closed years ago, but the building has found another use, so it is occupied and well maintained.


Among the decorations are several inscriptions, most of them not from Catholic sources.

“Knowledge is that which, next to virtue, truly and essentially raises one man above another.” —Addison.

The side entrance on Arvada Way.

“The purest treasure mortal times afford is spotless reputation.” —Shakespeare.

Terra-cotta figures of children enjoying their childhood decorate the side walls of the school.






The architects’ rendering of the Pittsburgh Athletic Association Building. It was published as the frontispiece to the Catalogue of the Pittsburgh Architectural Club’s Fifth Exhibition, March, 1910.

The Negley was probably built in about 1909; the architects were the firm of Janssen & Abbott. Some of the original details have vanished over the years, but Benno Janssen’s spare version of Georgian style still leaves an impression of dignity and elegance.




An unusual choice: the doorway frames are cast iron.


The Buhl Building, an early work of Benno Janssen, bathed in reflected light. Perhaps the image would be more poetic without the construction zone at the end of Fifth Avenue, but old Pa Pitt can only do so much about construction zones.