Designed by A. F. Link, this Romanesque church was begun in 1923 and opened in 1925. The style is transitional: it uses traditional Romanesque elements, but it is already veering toward the Art Deco modernist interpretation of those elements that would become common in the 1930s through the 1950s.
The cross at the top of the (liturgical) west front sets the modernist tone for the decorations.
These abstract capitals continue the streamlined modernist theme, as do the three lunettes (Mary, Jesus, Joseph) on the west front:
Though it is a complex design, the rose window echoes the streamlining of the capitals and other details.
In contrast to the Deco streamlining of the front, the side of the church, with its crenellations and complex brickwork, could almost pass for a middle-1800s church by Charles F. Bartberger. Yet the styles fit together; there is no dissonance between the different views of the church.
For those who are interested, here is a Pittsburgh Catholic article published March 27, 1924, that identifies many of the contractors and artists who worked on the church.
Although we don’t find it listed among his works, Father Pitt suspects that this school may have been designed by John T. Comès. The polychrome brickwork and crenellations remind us of some of his more famous churches, and the fact that the parish hired his disciple Leo McMullen to design the main church after Comès was dead may be suggestive. If anyone at the parish knows who designed this building, Father Pitt would greatly appreciate a comment.
Obviously the parish was getting ready for a festival when old Pa Pitt stopped by a few weeks ago.
John T. Comès was probably Pittsburgh’s most prolific architect of Catholic churches—a record made all the more remarkable by the fact that he died at the age of 49. His favorite style was Romanesque, and in the out-of-the-way back streets of Etna we find this masterpiece, built in 1914, that shows him at the peak of his creative power. It has all of Comès’ quirks. Unlike many other American architects who worked in the Romanesque style, he enthusiastically embraced the almost gaudy polychrome stripes and patterns typical of medieval Romanesque masterpieces. The bells in their cutout arches also seem like a thoroughly Comès detail.
With the light from the wrong angle, this composite picture of the front was about the best old Pa Pitt could do.
Here is a little Arts-and-Crafts Romanesque church that had money at the wrong time. The modern addition (probably 1960s or early 1970s) is not sympathetic to the church behind it. The elaborate modernist window in the front probably replaced an earlier decorative window; perhaps the church had a fire. If a member of the congregation has any information, old Pa Pitt would be grateful for it.
Ulysses L. Peoples was the architect of this school, which opened in 1902 and even then was something unique.
The building itself is a tasteful but not extraordinary example of Romanesque style with Renaissance overtones—something we might call Rundbogenstil, because we like to say the word “Rundbogenstil.” It is a little bedraggled-looking now, because it closed in 2005. The more modern addition (by the time it was added this was known as the Madison Elementary School) has been adapted for the Pittsburgh Playwrights Theatre Company, but nobody seems to know what to do with the original section.
A fine piece of work for a small school, like many another Romanesque school in Pittsburgh. But the carved decorations around the entrances are like nothing else in the city, or possibly on earth.
It seems as though the architect and the artist had conceived the curious notion that children should find school delightful, and that the entrance should convey the message that here is a place where we are going to have fun.
The side and rear of the building. The rear, facing an alley, is done in less expensive brick.
The later addition, from 1929, is by Pringle & Robling in quite a different style, a lightly Deco form of modernism.
Leo McMullen, a disciple of the great John T. Comès, put his own unique Art Deco spin on traditional Romanesque architecture to give us a remarkably successful melding of medieval and modern sensibilities. McMullen was a native of Bellevue, and it looks as though he decided to put his hometown on the map by giving it a church that would be the envy of any city in the world. He succeeded.
Father Pitt took so many pictures of this glorious church that he is forced to split them up into multiple articles. And even with dozens of pictures, he has hardly begun to catalogue the artistic treasures to be found here. If you appreciate architecture, stained glass, painting, and sculpture, you owe yourself a visit to the Church of the Assumption.
A Romanesque—perhaps even Rundbogenstil—commercial building in the back streets of Sharpsburg. It has lost its cornice, and the second floor has received incorrect “multipane” windows, but the storefront with inset entrance is almost perfectly preserved.
Now called “The Highline,” the Pittsburgh Terminal Warehouse and Transfer Company was one of the largest commercial buildings in the world when it was finished in 1906. The architect was the prolific Charles Bickel, who gave us a very respectable version of Romanesque-classical commercial architecture on a huge scale.
The building was planned in 1898, but it took several years of wrangling and special legislation to clear three city blocks and rearrange the streets to accommodate the enormous structure. Its most distinctive feature is a street, Terminal Way, that runs right down the middle of the building at the third-floor level: as you can see above, it has now been remade into a pleasant outdoor pedestrian space. You can’t tell from the picture above, but there is more building underneath the street.
The bridge coming out across the railroad tracks is the continuation of Terminal Way, which comes right to the edge of the Monongahela, where the power plant for the complex was built.
The reason for the complex is more obvious from this angle. Railroad cars came right into the building on the lowest level to unload.
It also had access to the river, and road access to Carson Street at the other end. Every form of transportation came together here for exchange and distribution.
McKean Street separates the main part of the complex from the Carson Street side; Terminal Way passes over it on a bridge.
The Fourth Street side shows us the full height of the building. Fourth Street itself is still Belgian block.
A view over the McKean Street bridge and down Terminal Way from the Carson Street end.
This absurdly narrow building is on the Carson Street side of the complex; it has usually housed a small restaurant of some sort. One suspects that this was the result of some kind of political wrangling that ended in a ridiculously small space on this side of Terminal Way between Carson and McKean Streets.
The power plant for the complex, seen above from the Terminal Way bridge across the railroad. It could use some taking care of right now.
This view of the complex from the hill above Carson Street was published in 1911 as an advertisement for cork from the Armstrong Cork Company.
