Chartiers Avenue is the main business street of downtown McKees Rocks; and although it has lost some important buildings, enough remains to form the basis of a revival that seems to be in its early stages already. Above, a typically Pittsburgh commercial interpretation of the Italian Renaissance.

This little building has an interesting combination of details. The upper windows have round arches, but the lintels above them are fattened into incipient Gothic arches. The multiple decorative patterns in the brick add a rug-like texture to the front.

This building is marked “HALL” on old maps, suggesting that it belonged to a lodge of some sort. It has been altered so much that it is hard to see what it originally looked like. Nevertheless, it presents a neat front, if not a well-proportioned one. The vast expanse of side wall, exposed when a more interesting neighboring building was demolished about ten years ago, cries out for a huge mural of Cubist guitars.

“Cute” is a word old Pa Pitt seldom employs, but it is hard to think of a better term for the Gothic front on this little building. It appears to be a later addition to an older building. The Gothic peak is a thin false front with nothing behind it, and it was made a little too insubstantial: it is leaning backward slightly and will probably have to be stabilized by the next owner.

The ground floor has been altered, but the original character of this corner building is otherwise well preserved. Until very recently, its neighbor was one of the finest buildings in McKees Rocks, the McKees Rocks Trust Company, a sumptuously Ionic bank that loomed paternally over the whole block. As you can see, Father Pitt was just a little too late.

Finally, this union hall is a fascinating example of contemporary architecture. The building was an undistinguished little storefront from the 1950s or so, altered so much that it was impossible to guess its original character. In 2016, however, this impressive classical front was put on, which changed the look not only of the building but even of the whole street around it. Father Pitt has seen many examples of “New Classical” architecture that make him want to hide under an Edwardian sofa, but this one does exactly what it set out to do. It has classical dignity and a little ostentatiousness without lapsing into parody. The exposed girder above the column is a wry wink at modernist architecture, but the metal canopy makes the girder seem appropriate.