Henry Hornbostel designed the front of the Fine Arts Building with niches that display all styles of architectural decoration, and more practically give students a place to sit between classes. The niches have continued to accumulate sculpture in styles from all over the world. The whimsical figures in the Gothic niche may have been done by Achille Giammartini.
In the classical niche, the three orders of Greek architecture: Corinthian, Doric, Ionic, demonstrated with correct proportions.
Father Pitt is fairly certain that the ornamental stonecarving on the Maginn Building was done by Achille Giammartini, Pittsburgh’s master of Romanesque whimsies. The style is Giammartini’s, and the building was designed by Charles Bickel, who is known to have brought in Giammartini for the German National Bank (now the Granite Building) around the corner, as we see in this advertisement:
But, you say, speculation is not enough for you. You want the artist’s signature. Well, to old Pa Pitt, this looks like a signature:
In fact, Father Pitt has formed the hypothesis that Giammartini littered the city with self-caricatures in Romanesque grotesque. Several other buildings bear carved faces similar to these two in the corners of the arch on the seventh floor of the Maginn Building.
The rest of the ornaments are also in Giammartini’s trademark style: lush Romanesque foliage with slightly cartoonish faces peering out from the leaves.
The front of the College of Fine Arts in sunset light. Above, the word CREARE (“to create”) inscribed above the entrance by decorative sculptor Achille Giammartini.
Reason.
Design.
The County Office Building, which opened in 1931, was designed by Stanley L. Roush, who was the king of public works in Allegheny County for a while. Its combination of styles is unique in Pittsburgh, as far as old Pa Pitt knows. In form it is of the school Father Pitt likes to call American Fascist, the weighty classical style filtered through streamlined Art Deco that was popular for American public buildings between the World Wars, and of which the grandest example in Pittsburgh is the federal courthouse. But the details are Romanesque rather than classical—an acknowledgment of the lingering influence of the great Richardson’s greatest masterpiece, the Allegheny County Courthouse. The carved ornaments are Art Deco adaptations of medieval themes, except for the eagle above, which is not at all medieval, and which clasps the arms of Allegheny County in its talons.
The Fourth Avenue side. The County Office Building is roughly square, so the four sides are similar, except that this side lacks an entrance. But this was the side that was lit by the sun when Father Pitt was taking pictures. It took a lot of fiddling and adaptation to get the whole side of the building across a tiny narrow street, so you will see stitching errors and other anomalies if you enlarge the picture.
An Art Deco gargoyle.
Columbus Avenue is at the ragged back end of Manchester, where there are still many crumbling and abandoned buildings. This one, however, has been beautifully restored; it is the home of a marketing company that obviously sees the value in having a landmark building for its headquarters.
This feast of deco-Gothic terra cotta on the Boulevard of the Allies was designed by Joseph F. Kuntz, who worked for the Wm. G. Wilkins Company. It opened in 1925. Several of Kuntz’s buildings are notable for their terra-cotta fronts: see, for example, the Maul Building and the Hunt Armory.
The rotunda of Penn Station is such a remarkable structure that it has its own separate listing with the Pittsburgh History and Landmarks Foundation. The skylight is a fine example of abstract geometry in metalwork.
The current owners of the Pennsylvanian hate photographers and tourists who come up to see the rotunda, and post signs on the walk up to the rotunda warning that this is private property and no access beyond this point and, with dogged specificity, NO PROM PHOTOS. But old Pa Pitt walked up through the parking lot, taking pictures all the way, and therefore saw the signs only on the way back. Sorry about that, all ye fanatical upholders of the rights of private property, but these pictures have already been donated to Wikimedia Commons, so good luck getting them taken off line.
The four corners of the earth, or at least the four corners of the Pennsylvania Railroad, are represented on the four pillars of the rotunda.
“Pittsburg” was the official spelling, according to the United States Post Office, when the rotunda was built in 1900.
The front of Union Station, which was the official name of what we usually call Penn Station in Pittsburgh, was completely illuminated by winter sun the other day, so old Pa Pitt took the opportunity to pick out some of the multitude of terra-cotta decorations with a long lens.
The Liberty Avenue face of this building has been modernized and remodernized so many times that no one would take it for anything remarkably old. But it is actually one of the very few commercial buildings remaining downtown from the Civil War era. It was built in about 1865 for Arbuckle & Company, a dealer in coffee and sugar in the days when Liberty Avenue was the wholesale food district, with a railroad running right down the middle to bring the food in at its freshest. And if you will come around the back with us, you will see one of Pittsburgh’s odd little hidden treasures.
The short alley behind the building is still called Coffey Way, and the back of the Arbuckle building shows the very old bricks we might expect. And among those bricks, in an alley that hardly anyone even knows about, we find “some of the oldest surviving architectural sculpture in the city,” according to Discovering Pittsburgh’s Sculpture by Marilyn Evert.
These medallions are obviously meant to represent specific figures, but no one is quite sure which specific figures. This one has been identified as George Washington or Colonel Bouquet (the one who built the blockhouse).
This keen-eyed lady has been identified as Jane Grey Swisshelm or Mary Croghan Schenley.
This is probably an allegorical head of Liberty, although it has also been identified as an “Indian head” of the sort common on nineteenth-century coins.
This one is very likely to be Abraham Lincoln, but “very likely” is the most certainty we can summon up. It could also be John Arbuckle himself, the head of the firm, who appears in a later photograph with a beard and distinctively hollow cheeks. We note that this is the only one of the faces turned left instead of right; if you like to find symbolism in things like that, go ahead.
John Arbuckle, incidentally, was the inventor of processes for preserving coffee and automating its packaging, so we may regard him as the founder of coffee as a mass-produced consumer product. This little alley, therefore, ought to be on every coffee-lover’s pilgrimage list.
This is a Catholic school with more than the usual touch of whimsy. Old Pa Pitt does not yet know the architect, but whoever it was decided to make a school that would strike its pupils as something out of a fairy tale. [Update: We have found that the architects were the well-known Link, Weber & Bowers, “Link” being A. F. Link and “Weber” being Edward Weber.1] It is sadly vacant and decaying right now, although at least the grounds are kept. The cornerstone tells us that the building was begun in 1928:
Since old Pa Pitt considers this school endangered, he has many pictures to show you, so the rest will be behind a “read more” link to avoid cluttering the front page for a week.
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