The Art and Architecture of Death
A richly detailed example of Renaissance classicism, with rusticated blocks, arched entrance, “modern Ionic” columns (that is, Ionic columns with volutes at the four corners of the capitals), and flanking urns.
A large and luxurious classical structure with a prominent cupola topped by a statue of Hope shaking her fist at heaven. At least that is how old Pa Pitt always reads the statue: it is certainly Hope (the anchor is her ID card), and Father Pitt doesn’t know what else to make of the raised-fist salute.
Ornate monograms flank the entrance arch.
A simple but elegant Ionic mausoleum, seen here with the much more extravagant Brown pyramid in the background.
A rich-looking Ionic façade with a Victorian profusion of details, including rusticated stone blocks. It seems to have been a stock model; an exact duplicate was built for the Wilson family in the Union Dale Cemetery.
Generations of Heinzes rest in this Jeffersonian domed mausoleum, including H. J. the ketchup king and the late Senator John Heinz.
A Victorian interpretation of Jeffersonian classicism. Domes are fairly unusual on Pittsburgh mausoleums, but this one works well with the “modern Ionic” design. The four large lamps on the corners are a bit much, in old Pa Pitt’s opinion; but the Singers didn’t ask him.
Two layers of bronze and one cheap padlock keep vandals out, or perhaps the Singers in.
William H. Walker (1841-1904) had his portrait rendered in stained glass for the back of his mausoleum, which is the sort of thing you can do if you have the money to put up a large Ionic mausoleum like this one.
A huge and opulent Ionic mausoleum crowned by a cupola on which stands a figure of Hope shaking her fist at heaven. At least that is how it has always looked to old Pa Pitt. The Schreiners must have had quite a lot of money, but they have left few other obvious historical traces of themselves.
One of the most elegant Ionic mausoleums in the city, this one is notable for its perfectly balanced classical details and its tastefully ornate bronze doors.
A massive chunk of Ionic classicism that certainly does its job of making the Henry family plot easy to find. The large volutes on top cleverly echo the Ionic volutes of the capitals of the columns. The monument probably dates from 1902, when John Henry was buried here. The individual tombstones look like children’s toy models of the main monument.