
Seen from across the Mon.
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Above, on the Grant Street front; below, on the Fifth Avenue side.


From the intersection of Fifth Avenue and Sixth Avenue (and try to explain that to an out-of-towner).

This elegantly proportioned corner-tower church is currently vacant. Doesn’t some artist need a distinctive studio? Think of what you could do with the auditorium and three floors of school next to it!

The tower has completely abstract non-figurative gargoyles—perhaps a compromise the Romanesque-minded architect made with an iconophobic congregation.

A particularly fine house built in the 1880s and lovingly restored. It had the good luck to be just missed by the Ohio River Boulevard when it tore through the heart of Manchester.



Picturesquely wavy shingles still decorate the gable.

Not surprisingly, considering the fashion that Richardson’s courthouse set throughout the Pittsburgh area, this house has more than a touch of the Romanesque. Note the former address, 22, carved in stone.

A more modern architect might ask, “Why is there an oval window?” But in the Queen Anne style, which is devoted to the picturesque, the proper question to ask is, “Why should there not be an oval window?”


Wilkinsburg used to call itself “City of Churches,” and it still has a denser concentration of great church architecture than almost any other neighborhood or borough. This one is battered but still hanging on, now as the Arc of the Covenant Church. The building dates from 1896–1897; the architect mentioned in contemporary listings was Elmer B. Milligan,1 who would soon take on Francis M. Miller as a partner—probably while this church was under construction, since a fortieth-anniversary program names Milligan & Miller as the architects.



The colossal octagonal lantern is the most striking feature of the church: there’s nothing else like it in Wilkinsburg.




Father Pitt took his new old Kodak superzoom to the South Side Cemetery to try it out. These pictures of St. Basil’s Church are not cropped; the lens has a very long range, although there are more recent superzoom cameras with even longer ranges. Herman J. Lang was the architect of the church.




This impressive portal, wide enough to drive a large delivery wagon through, leads to the central courtyard.

Stanley Roush, the county’s official architect, designed this building to hold the offices that were spilling out of the Courthouse and the City-County Building as Pittsburgh and its neighbors grew rapidly. It was built in 1929–1931, and it is an interesting stylistic bridge between eras. Roush’s taste was very much in the modernistic Art Deco line, but the Romanesque Allegheny County Courthouse, designed by the sainted Henry Hobson Richardson, was a looming presence that still dictated what Allegheny County thought of its own architectural style. Roush’s compromise is almost unique: Art Deco Romanesque. We have many buildings where classical details are given a Deco spin—a style that, when applied to public buildings, old Pa Pitt likes to call American Fascist. But here the details are streamlined versions of medieval Romanesque, right down to gargoyles on the corners. Above, the Ross Street side of the building; below, the Forbes Avenue side.


One of the entrances on Forbes Avenue.




Moses with the tablets of the Law. His beard obscures the Tenth Commandment, so go ahead and covet anything you like, except—if you are Lutheran—your neighbor’s house, or—if you are Catholic—your neighbor’s wife or house. Counting up to ten is harder than it looks when it comes to Commandments, and you may need to refer to Wikipedia’s handy chart to find how the numbering works in your religious tradition.

The bridge in this medallion looks a lot like the Tenth Street Bridge, which by pure coincidence was designed by Stanley Roush.

Decorative grate with an Allegheny County monogram.

Some very expensive columns, smooth and classically proportioned but with elaborate Deco Romanesque capitals.
We have more pictures of the decorations on the County Office Building, including those gargoyles we mentioned.

Built in about 1893, this church was designed by James N. Campbell, who gave it his usual outsized corner tower with enormous open arches for the belfry. It was later known as Carnegie United Methodist Church, which left it a few years ago. But it appears to have been adopted as a community center by the prospering Attawheed Islamic Center next door in the old Presbyterian church, which the new owners obviously treasure and pour a lot of labor into, so we hope the future of the building is secure.



