Art & Architecture

Introduction The four-turreted tower of Pittsburgh’s Church of the Ascension is a distinctive feature of the Oakland skyline. It has asserted its presence at the corner of Ellsworth and Neville since the turn of the 20th century. At that time it was part of the rapidly growing suburb of Shadyside. It is built in the Early English Gothic revival style, and according to Pittsburgh architectural historian, James Van Trump, “the tower bears a striking resemblance to that of the Welsh parish church of St. Giles at Wrexham, Denbigh.1” The present church is the second built on this site. The first was a wood frame building, built in 1889 on Ellsworth, across from Clyde St, approximately where the end of the Parish Hall now stands. The congregation soon outgrew the first building, which was torn down in 1909. Exterior and Grounds The present building was begun in 1897. The main building is built of local sandstone and was one of the last built without a steel frame . The Parish Hall was built in 1910, and an addition containing the kitchen in 1965. Until 1918 a private residence stood on the corner of Ellsworth and Neville, where there is now lawn, blocking the view of the church. The outlines of its foundation may still be seen in dry weather. The existence of this structure may explain why the plan of Ascension does not follow the strict English Gothic practice of orienting churches so that the Chancel and Lady Chapel face due east. While the longitudinal axis does have the requisite East--West orientation, it has been turned about. Instead of the main entry being located at the West Front of the church, it is on the South side of the East end of the building. Interior The floor plan, as has been customary since Early Christian times, bears the shape of a Latin Cross at its core. In a typical Gothic church, the Narthex (entry hall) runs along the foot of the cross form, so that initial entry gives a view of the full length of the Nave and carries the eye to the Chancel with its focal point, the High Altar. At Ascension, the Narthex is located to one side of the foot of the cross outline, and the baptismal font is centrally located at the foot of the cross. The placement of side aisles along both sides of the Nave is typical, as is the positioning of the transverse aisle, or transept between the Nave and the Chancel. The cruciform character of the plan is carried through the elevation so that it is also visible from an aerial view. The Nave (from L., ship) is separated from the Chancel by a step and a large archway. The brick walls, originally natural light yellow, have been painted white. There were originally 35 rows of pews, but one row has been removed in the front and five in the back. Above the pulpit on your left and the Lectern on your right are small wooden Rood screens, so called because of the crosses that stand on each section. In pre-reformation churches the rood screen filled the archway, separating the people in the Nave from the clergy in the Chancel. The style of church demonstrates a principle, now known as fractal geometry, by which the eye sees the same level of complexity from every viewing distance. From the back of the Nave, one sees the massive stone and wooden arches. Only when one is at the communion rail is the detail in the reredos (the carved oak woodwork behind the altar) seen. Nave Beginning at the main entrance, to your right is the large East window. Like most of the windows, it is the opalescent style (showing a play of colors like an opal). Below is the white marble baptismal font. Its inscription reads, “Suffer (permit) the little children to come unto me. ” To your left, above the doorway, is a copy made about 1930 of Raphael’s 1517 Transfiguration. The aisle (lower) windows on both sides of the Nave were installed when the church was built. They are, in order on your left starting at the rear, Angel , Angel, Angel with Child, and (on the other side) Jesus with Children, Saint with Staff, Angels with Lilies, Angel with Harp, and the Boy Christ. The Clerestory (pr. Clear Story) windows above the aisle windows were installed in 1962-1963 (with one exception, noted below). These windows are much brighter than the earlier opalescent style windows. Van Trump says, “Modern though they are, [they] show very pervasively the influence of English 13th century medallion windows.” They represent, in order on your left starting at the rear: St. Alban, first martyr in the British Isles, 4th century; St. Elfreda, Abbess of Whitby, died 714; St. David, Bishop of Mynyw and patron saint of Wales, 6th cent.; and St. George, patron saint of England. The last was installed in 1918. The inscription says, “In memory of Philip Phillips Benny—Aviator,” together with the biblical quotation, “Greater love hath no man than this, that a man lay down his life for his friends.” On the other side of the Nave, the windows continue with St. Hilda of Whitby, “among the chief makers of England in the childhood of the nation,” d. 680; St. Dunstan, Archbishop of Canterbury, 910-988; St. Thomas Becket; Archbishop of Canterbury, b.1118 and killed in the cathedral, 1170; and St. Edward the Confessor, patron saint of city of Westminster, d. 1065. Transept Now, go to the Transept (crossing) in the front of the Nave. The large window on your left is Angel with Lilies, and on the opposite of the Transept is the Ascension of Christ, both done in the Tiffany style. Chancel Next, step into the Chancel. In the center of the Chancel, the large stone altar is free standing, which permits the priest to face the congregation during the service. The windows to your left are, starting with the nearest: Isaiah the Prophet, which depicts the prophecy of the coming of Christ; St. John the Baptist, which portrays the coming of Christ; and Jesus, who portrays the gift of salvation. The large mural of the Ascension was painted in oil on canvas by Frederick Stymetz Lamb in 1918, and is the second largest wall painting devoted to this theme in the United States. The reredos (wooden panel underneath and surrounding the mural) has the following carved into it, from left to right: “If I be lifted up, I will draw all men unto me, Therefore are they taken before the throne of God and serve Him day and night in his Temple. He watching over Israel slumbers not nor sleeps. Should those walking in grief languish, He will quicken them.” Just under the painting, in white letters, are the following verses, “I have fought a good fight. I have finished my course. I have kept the faith, They were lovely and pleasant in their lives and in their death they were not divided. There is laid up for me a crown of righteousness, which the Lord the righteous judge shall give me.” The tapestry on the left is of St. John the Apostle, woven in Tournai c. 1510. The tapestry of the ascension on the right is “a handsome example of late Renaissance art woven in Brussels about 1500 and formerly hung in the Palais de Sagan in Paris. According to Van Trump, “this magnificent Flemish panel…is unquestionably the outstanding work of art in the chancel...an almost identical tapestry is in the Metropolitan Museum and these two are the only period tapestries of this subject known to exist.1” The four-manual Austin organ, installed in 1974, contains 4085 pipes, including an antiphonal organ in the back of the Nave. It is a rebuild of the earlier Skinner organ using many of the original pipes. Gordon Chapel The Gordon Chapel, to the left of the Chancel was refitted in 1919 in the “lady chapel” tradition, and late Gothic/early Renaissance style. Behind the altar, which is against the wall in the high church form, is a tryptich (three-part, carved, folding panels) depicting in the center Mary, the mother of Jesus, holding the baby Jesus. On the left in the same panel is Mary Magdelene, and on the right is St. Catherine of Alexandria. The panel on your left shows John the Baptist with his mother St. Elisabeth. The panel on the right shows St. Ann and Mary. The windows of the chapel are blue, the traditional color for Mary. They are in the transparent antique style, which transmits more light, as opposed to the opalescent style of the earlier windows of the church. At the rear of the chapel is a carved screen, which includes (on the chapel side) the carving of the Annunciation to Mary of the birth of Jesus. Oliver Chapel The Oliver Chapel, in the right transept, was finished in 1958. This altar is also against the wall. Over the altar, a quilt shows the ascension. In 1993 a columbarium (place for ashes of those cremated) was built around the walls of the chapel. The doors are opened most Sundays during the year. Parish Hall Now, as you leave the Sanctuary by the door across from the main entrance, you enter the curved ambulatory (hallway) that leads to the Parish Hall, built in 1910, added onto in 1966, and renovated in 2001. The addition of 1966 begins about the middle of the far set of windows, and includes the kitchen, elevator, and stairs. The music room and men’s room were added at the other end of the Hall at the same time. In the renovation of 2001 the hall was extended into the former parlor, behind what is now the receptionist’s desk. Upstairs are the Guild room and offices. The middle window of the Parish Hall is the stained glass depiction of St. George, standing on the slain dragon. Below is the description, “Quit you (behave) like men, be strong.” Addition of 2001 Returning to the ambulatory, you will see double doors leading to the addition of 2001. The glass hallway is in the industrial style, with exposed beams and heating ducts. The doors to the right take you to the classrooms and the Hunt rooms. The doors against the outside wall of the Hunt room open up to reveal altar furniture and a stained glass window, the latter made by parishioner Carol Pilant in the contemporary style. The building was designed to permit the addition of a second floor in the future. Acknowledgements 1) Whitmore, M. P. 1989. Church of the Ascension, 1889-1989: Centennial History. 2) Douglas, E. A. Personal communication. Diverse artistic legacy: Pittsburgh’s Church of the Ascension. Pittsburgh Tribune Review,Sunday, June 1, 2003.