Seven rooms and two baths: this house (obviously photographed a few weeks ago) is at the more modest end of Hoodridge Drive, but it is in good taste and almost completely unaltered since it was built in 1935. We know that because, when it was “just completed,” it was pictured in a Press real-estate feature. Although the microfilm reproduction is very poor, we can still see enough to tell that nothing material has changed.
“Gertrude Stein was born in Allegheny, Pennsylvania,” says Alice in The Autobiography of Alice B. Toklas. “As I am an ardent californian and as she spent her youth there I have often begged her to be born in California but she has always remained firmly born in Allegheny, Pennsylvania. She left it when she was six months old and has never seen it again and now it no longer exists being all of it Pittsburgh. She used however to delight in being born in Allegheny, Pennsylvania when during the war, in connection with war work, we used to have papers made out and they always immediately wanted to know one’s birth-place. She used to say if she had been really born in California as I wanted her to have been she would never have had the pleasure of seeing the various french officials try to write, Allegheny, Pennsylvania.”
This house has a more detailed history at the Manchester Historic Society’s site (PDF), so old Pa Pitt will only mention the highlights. It was built for Clarence and Mary Dravo Pettit in 1891 from a design by Thomas Scott, whose public buildings would mostly be done in a Beaux Arts classical style; here, however, he has jumped on the Richardsonian Romanesque bandwagon, since the style became practically a mania in Pittsburgh after the county courthouse was built in the 1880s.
It is likely that the decorative stonecarving was done by Achille Giammartini, whose own house was a short stroll from this one.
If your turret has a decorative foliage frieze, you might as well gild it. And don’t forget the finial at the peak.
What old Pa Pitt calls the Fairy-Tale Style was very popular in the 1920s and 1930s. The mark of the style is an exaggerated historicism in which the historical elements are rendered less as accurate reproductions of historical styles and more as if they were illustrations in a children’s book. This house in the St. Clair Terrace plan in Mount Lebanon is a perfect representative of the style.
Edward Weber was best known for his school designs—notably Central Catholic High School and St. Mark’s School in the McKees Rocks Bottoms. The sense of fairy-tale whimsy he showed in those designs was on full display in this house, which Weber designed for Louis Brown in 1913. It shows the same Jugendstil influence that we identified in the Lilian Henius house in Highland Park, which was designed by our noted early modernists Kiehnel & Elliott; this one is on a grander scale, but if we did not know the architect we would be forgiven for speculating that the two houses were drawn with the same pencil.
This house is not quite like anything else: it’s a little bit Tudor, a little bit Arts and Crafts, and a little bit Renaissance. Thomas Pringle, an architect whose most famous works are churches and religious institutions, designed it for himself against an improbable hillside in Schenley Farms.
This bronze medallion of Mercury sits over the front door.
We’ve already seen two of the houses on Cordova Road: the Lillian Henius house and the Mother Goose cottage designed by Theodore Eichholz. The whole neighborhood of Highland Park is a historic district, and Cordova Road, short as it is, gives us a good sampling of a wide variety of architecture. This charming cottage is modest but unique.
Here is a double house with Craftsman-style porch pillars decorated with a bit of Art Nouveau trim.
A sophisticated little Craftsman-style cottage.
This house stands somewhere near the intersection of Colonial, Renaissance, and modern.
Bailey Avenue, right on the crest of Mount Washington, has an eclectic mix of grand Victorian houses, somewhat more modest houses from later eras, double houses, duplexes, and small apartment buildings. Here is a representative sampling of some of the single-family houses.
Built in 1918, this very artistic house was designed for an artist by Kiehnel & Elliott, who applied everything Richard Kiehnel had learned from the German Jugendstil masters and made a kind of modernist Bavarian peasant cottage. Kiehnel & Elliott were among our most interesting early modernists; they would go on to make architectural history by introducing Art Deco to Miami.
At the intersection of two impossibly narrow alleys downtown is a little remnant of old Pittsburgh from before the age of skyscrapers, and even before the age of six-storey Victorian palaces of commerce. This is the only place downtown where you can get a hint of what back-alley Pittsburgh looked like when the city was mostly confined to the Triangle, and every square foot was inhabited. All the back alleys were crowded with little houses like these. The two tiny two-storey houses may date from as late as the 1880s, when they seem to have replaced frame houses of roughly equal dimensions; but they were built in an indeterminate vernacular style that would not have looked out of place in the Pittsburgh of a hundred years earlier. The taller building on the corner is older, and we can see by the patchwork of bricks that it once had a tiny storefront with a corner entrance.
As small as the building is, and as wide as the lens is on old Pa Pitt’s Fuji HS10, it was still necessary to make a composite picture to get the whole Montour Way front of this little house. Please forgive a bit of glare at the top: the sun was behind the building.
The taller houses behind the tiny ones were preserved by being converted into part of the Harvard-Yale-Princeton Club in 1930.
Today these buildings give us something unique squashed between the looming skyscrapers: one block of the old Pittsburgh, as it looked before the great expansion after the Civil War. We hope they can be preserved. Right now they seem to be in no danger; the Allegheny HYP club is still going, and the other buildings are inhabited by a tailor so exclusive that a small sign on a back alley suffices for advertising.
