Stonework & Design

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.

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 aforementioned 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.

The 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 from 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.

The Clerestory (pr. Clear Story) windows above the aisle windows were installed in 1962-1963 (one exception*). 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 beginning from left rear:

1. St. Alban, first martyr in the British Isles, 4th century;

2. St. Elfreda, Abbess of Whitby, died 714;

3. St. David, Bishop of Mynyw and patron saint of Wales, 6th cent.;

4. St. George, patron saint of England.

*The last window was installed in 1918. The inscription says, “In memory of Philip Phillips Benny - Aviator,” along with the scripture, “Greater love hath no man than this, that a man lay down his life for his friends.” taken from John 15:13

Continuing the windows on the right side of the Nave:

5. St. Hilda of Whitby, “among the chief makers of England in the childhood of the nation,” d. 680;

6. St. Dunstan, Archbishop of Canterbury, 910-988;

7. St. Thomas Becket ; Archbishop of Canterbury, b.1118 and killed in the cathedral, 1170;

8. 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 looking to the right is the Ascension of Christ, both done in the Tiffany style.

Chancel

Next, step up into the Chancel. You will see a large freestanding stone altar. It is positioned so the priest can face the congregation during the service. Look up and to your left to see three windows, starting from left to right:

Isaiah the Prophet, depicts the prophecy of the coming of Christ;

St. John the Baptist, portrays the coming of Christ; and

Jesus, the Christ, portrays the gift of salvation.