African Heritage The African Heritage Classroom was designed to reflect an 18th-century
Asante temple courtyard in
Ghana which would provide the setting for ceremonial events, learning, and worship. The classroom represents the entire continent of Africa with
Yoruba-style door carvings by Nigerian sculptor Lamidi O. Fakeye depicting ancient kingdoms of Africa including
Egypt,
Nubia,
Ethiopia,
Benin,
Kongo/
Angola,
Kuba,
Mali, and
Zimbabwe. Plaster forms in the
frieze represent the arts, music, science, languages, and literature of Africa. A
display case housing artifacts from various African nations and the chalkboard area reflect
patos around the courtyard. Below the chalkboard doors depicting the
Igbo lozenge and star motif are
Sankofa birds which symbolize the need to learn from the past in order to prepare for the future. The oxblood steps, two levels of student benches, and
wainscot with relief decorations suggest the polished clay of an Asante temple. Openwork screens are present on the windows as they are used in Asante structures to filter the sun's rays while allowing air flow. Six chieftain stools provide informal seating near a hand-carved professor's lectern.
Armenian The
Armenian Classroom was inspired by the 10th- to 12th-century
Sanahin Monastery. The design consists of intersecting arches and a domed ceiling built to lessen damage from frequent earthquakes in that country. The room's arches, built of Indiana limestone, make this the heaviest of the Nationality Rooms, weighing 22 tons, and required the second floor beneath the room to be reinforced in order to support its weight. The cornerstone is a
basalt stone from the grounds of Sanahin. In the mortar behind it are the thumbprints of five of the oldest Armenian
diaspora living in the Pittsburgh area, as well as the handprint of an infant of Armenian descent, symbolizing the continuity of the Armenian presence in western Pennsylvania.
Austrian The Austrian Nationality Room represents the 18th-century era of the Austrian Empire during its age of enlightenment under Empress
Maria Theresa and her son
Joseph II and incorporates
Baroque elements of the
Haydnsaal in
Schloss Esterházy at
Eisenstadt where
Joseph Haydn served as
Kapellmeister from 1766 to 1778. Ceiling paintings depict scenes from Roman mythology similar to those in the Haydnsaal. The room features Lobmeyer crystal chandeliers, gilded white lacquer seminar furniture patterned after that in the formal dining hall of
Vienna's Hofburg, royal red-tapestried walls, gold-leafed
pilasters, and a parquet floor inlaid in a starburst design. Exhibits in the display cases in the room trace the development of the multinational
Austrian Empire and the birthplaces of representative Austrian composers born within its borders between the years 1000 and 1918.
Chinese The Chinese Classroom is inspired by the design of a palace hall in
Beijing's Forbidden City and is dedicated to the memory of
Confucius and his democratic ideal of classless education. The teacher and students sit at the same level around a moon-shaped teakwood table. The professor's chair is carved with the admonition to "Teach by inspiring gradually and steadily". A slate portrait of Confucius is present that is patterned after one in the
Confucian temple at his birthplace of
Qufu in
Shandong Province. Above the red lacquered door, Chinese characters are carved into the stone lintel that proclaim that "Humility of mind goes with loftiness of character." Stone lions flank the entrance before carvings of the plum blossom, the national flower of China. The ceiling contains a coiling golden five-clawed imperial dragon surrounded by clouds denoting nature's energy and freedom. Painted squares portray dragons guarding the pearl of wisdom and the
phoenix with the motan flower, a symbol of cultural wealth. The opened blackboard doors reveal painted renditions of the babao, or
Eight Treasures, popular in
Chinese art. On the base below is a carved version of the
Bagua which consists of eight trigrams surrounding the circular
Yin and Yang. Windows consist of frosted glass with stylized
cames.
Czechoslovak The
Czechoslovak Classroom combines elements of a
Slovak farmhouse, country church, and the
Charles University in Prague while detailing men who contributed to Czechoslovak culture. The motto of the classroom, and of the former
Czechoslovak government in exile, is proclaimed by the inscription of "Pravda Vítězí" which translates to "
Truth Prevails" and surrounds a bronze relief portrait of the first President and founder of Czechoslovakia
Tomáš Garrigue Masaryk. In a wrought-iron case near the window bay, a letter penned by the hand of Masaryk to students at the University of Pittsburgh recalls
John Amos Comenius' belief that "education is the workshop of humanity". All woodwork, except the furniture, is made of
larch wood which grows to great heights in the
Carpathian Mountains. The ceiling, with flat boards overlapping each other between heavy beams, is painted by
Prague artists
Karel Svolinský and Marie Svolinská and depicts botanically accurate flowers and plants of Czechoslovakia and reflects a typical Slovak farmer's home and the style of country churches. A "tree of life" design on the rear wall surrounds the text of the proclamation by King of
Bohemia and Emperor of the
Holy Roman Empire Charles IV that marked the founding of the University of Prague in 1348. The plaster reveals of the bay window area is decorated by murals of miraculous trees bearing flowers and fruits and harboring animals, birds, and insects reflecting "peasant writings" and executed by the artists in freehand. Ceiling panels portray eight famous persons in
Czech and Slovak history from the 9th through 19th centuries including
Cyril and Methodius who created the
Cyrillic script,
Waclaw who was the "
Good King Wenceslaus" of the
Christmas Carol,
Jan Hus who was a champion of
Czech religious freedom,
John Amos Comenius who is considered the father of modern education,
Ján Kollár a Slovak poet who called for
Slavic unity,
Ľudovít Štúr who developed the Slovak literary language, and Bishop Stefan Moyzes who pioneered popular education in
Slovakia.
Intarsia done by V. Kopka of
Moravia are found on the entrance door panels and the professor's desk and lectern which depicts university academic disciplines. Embroidery, lace, Bohemian crystal, and historical documents are displayed in the wall cabinet.
Early American The
Early American Room is one of two display rooms not used as a functional classroom, although it is opened for guided tours. The room was commissioned by longtime University Pittsburgh trustee
George Hubbard Clapp, a descendant nine generations removed from Roger Clapp, an English captain who sailed into the
New England port of
Hull on May 30, 1630. The kitchen-living room of the early colonists was chosen to portray the sturdy simplicity of life in America during the 1650s. The room's focus is a nine-foot fireplace constructed from 200-year-old handmade bricks with "fixings" of a log hook, heavy iron kettles, a spider, gridiron, longhandled waffle iron, bread shovel, skewers, ladles, and forks. A small recess in the brick wall served to bake bread. A tapered pole swings out from the end of the fireplace to be used for drying laundry or to hang a quilt to keep the cold draft from those gathered near the fire. Massive hand-hewn pine beams used in the seven-foot-high ceiling and the fireplace were collected after a careful search in
Massachusetts.
White pine is used for the heavy seminar table, benches, and chairs.
Wrought-iron candelabra are hinged with clasps to hold lighting tapers. Other light fixtures are of specially designed pierced tin. The colonial-style windows were designed by glass artist
Charles Connick. Decorative items include a collection of 17th- and 18th-century American coins, a working spinning wheel, and a hand-stitched sampler. The small closet between the blackboard and fireplace contains a secret panel and once the concealed latch is discovered, its release causes the wall to swing open, revealing a hidden staircase to the upper loft, which has been furnished as a 19th-century bedroom. Included in the bedroom is a four-poster rope bed and small cradle, both of which belonged to pianist and composer
Ethelbert Nevin. The bedroom also includes several personal items, including an 1878 wedding quilt, which belonged to Waitman Worthington McDaniel and his wife Martha Jane Poe, the grandmother of Nationality Director Maxine Bruhns. The room is associated with various stories of unexplained incidents that have resulted in claims that the room is haunted.
English The English Classroom is designed in the
Tudor-
Gothic style after the
House of Commons that was rebuilt by
Sir Charles Barry following the fire of 1834. The English Classroom is the largest of the Nationality Rooms and incorporates several original items given as gifts from the
British Government from the damaged House of Commons, whose Chamber was completely destroyed, following its bombing by the Luftwaffe in 1941, including the stone fireplace,
hearth tiles,
linenfold oak paneling, entrance doorframe,
lintel, and
corbels. The fireplace is from the Commons' "Aye Lobby", so named because members walk through it to vote "yes" to a bill, and is marked with the initials V.R. for
Victoria Regina. The
cast-iron fireback and andirons commemorate the defeat of the
Spanish Armada in 1588 and an inscription above the fireplace is from
Shakespeare's King Richard II and uses lettering adapted from the letter tiles originally designed for medieval paving by the Monks of
Chertsey Abbey in
Surrey. The inscription reads: "Set in the silver sea.....this blessed plot, this earth, this realm, this England." Above the doorway hangs a royal
coat of arms made in 1688 during the reign of
King James II. The linenfold paneling itself arrived at the university still having a blackened coat from the bombing. Under the ceiling trusses are four carved
limestone corbels from the House of Commons that are carved with a
Tudor rose. Two corbels remain uncarved to emphasize the original carved corbels. The window frames, set in limestone, are characteristic of the Tudor period, and contain old imported glass, seeded and tinted, and encased in small, diamond-shaped leaded frames.
Stained-glass window medallions depict the coats of arms of English towns and cities, literary and political figures, scholars of the Universities of
Cambridge and
Oxford, and the Houses of
Lords and Commons. Portraits of University of Pittsburgh alumnus and former ambassador to the
Court of St. James's,
Andrew Mellon, and the former
Earl of Chatham,
William Pitt, after whom the city was named, flank the stained glass windows in the rear bay. A brick from
10 Downing Street serves as the room's
cornerstone. The
white oak floor is fitted together with wooden peg
dowels. Tudor-Gothic oak benches resemble the old House of Commons benches and are similarly arranged. Two English oak tables with melon-shaped legs stand before the bay. Two House of Commons Library chairs upholstered in green leather and bearing the official gold crest featuring the
portcullis and crown were a gift of
Lord Alfred Bossom and were rebuilt using wood from actual chairs in the bombed House of Commons.
French The French Classroom was designed by
Jacques Carlu, Director of the
School of Architecture in
Fontainebleau, in the
French Empire Period that reflects a French style inspired by the glories of the ancient and classical past that were rediscovered during the
Napoleonic campaigns in Greece, Italy, and
Egypt. This places the timeframe of inspiration for the classroom in the late 18th century and early 19th century, just after the founding of the University of Pittsburgh in 1787, therefore making it the only classroom which represents an era postdating the founding of the university, although many room elements are influenced by the
Palace of Versailles which clearly predates it. The color scheme of the room is blue-gray, royal blue, and gold, which were suggested by French-American architect
Paul Philippe Cret and are typical colors used at the height of the French Empire. The walls of the room are lined with wood paneling in classical proportions, and slender wall
pilasters are capped with delicately carved ad gilded crowns. Carved ornaments of the Egyptian
griffin and classical rosettes accentuate panel divisions. A wall cabinet containing art objects, books, and medallions balances the entrance door and maintains the room's symmetry. Crystal and metal chandeliers, which are simplified versions of those found in Palace of Versailles'
Hall of Mirrors, hang from a grey plaster ceiling. A parquet floor pattern also reflects many rooms in the Palace of Versailles. A
mahogany professor's chair and table are of the
Directoire period design include bronze ornaments imported from France that are replicas of originals of Empire furniture in the
Louvre. The mahogany student tablet armchairs are upholstered in royal blue. On the rear wall, a 16th-century Choufleur
tapestry depicts an allegorical woodland scene including, among other animals, a
unicorn which often served as a central figure in tapestries and legends from the
Middle Ages. Gold
damask draperies with a wreath and
lyre motif add to the sense of French opulence and frame the windows which look out on the university's
Heinz Memorial Chapel, itself an example of French
Gothic architecture inspired by the
Sainte-Chapelle in Paris.
German The German Classroom was designed by German-born architect Frank A. Linder to reflect the 16th century
German Renaissance as exemplified in the Alte Aula (Great Hall) of the
University of Heidelberg. The woodwork of the room was done by German-born
Philadelphia decorator Gustav Ketterer and includes
walnut paneling framing the blackboards, columns carved with
arabesques flanking the two entrance doorways, and support broken-arch
pediments surmounted by carved polychromed crests of the two oldest German universities: Heidelberg (1386) and
Leipzig (1409). The doors are mounted with ornate
wrought-iron hinges and locks, and their upper panels are decorated with
intarsia depicting the central square of
Nürnberg on the front door and the fountain of
Rothenburg on the rear door. Carved in the
architrave above the paneling are the names of famous philosophers, poets, musicians, artists, and scientists. The intarsia doors of the four corner cabinets feature tales from German folklore including
Parsifal who searched for the
Holy Grail,
Siegfried who was the hero of the
Nibelungenlied, the maiden wooed in
Goethe's poem
Heidenröslein, and
Lorelei who was the golden-haired
Rhine maiden whose song lured sailors to destruction. Painted on the
escutcheon above the front blackboard are words from
Friedrich Schiller's
Das Ideal und das Leben, "Stern endeavor, which no arduous task can shake, to the hidden fount of true attains." The rear wall has a quotation from
Johann Wolfgang von Goethe's
Was wir bringen which reads: "Great mastery results from wise restraint, and law alone points the way to liberty." Furniture includes the professor's leather upholstered chair stands on a small platform behind a burled walnut table and student tablet armchairs are walnut with scroll backs. Wrought-iron chandeliers are the work of German craftsman. The display case contains gifts of artworks and books from Germany's Ministry of Education. The
stained-glass windows were designed by master stained glass artist
Charles Connick, however they were not completed until 1953 by Connick protege Frances Van Arsdale Skinner.
Greek The classical architecture of the Greek Classroom represents 5th-century BCE.
Athens, the
Golden Age of Pericles and includes marble columns and a coffered ceiling. Colored details from the
Acropolis' Propylaea and Erectheum appear on white marble. The floor is paved with rectangular slabs of Dionessos Pentelic marble with dark vein. Gray Kokinara marble is used for the
dado. The room's columns and pilasters, as well as the coffered ceiling, bear painted decorations identical to those used on ancient Greek structures. The artwork was done by Athenian artist Demetrios Kokotsis who used the traditional
encaustic painting method, employing earth colors and beeswax applied freehand which was then overlaid with 24-carat gold leaf rubbed on by polishing bones which required two men more than seven months to complete. White oak furniture, patterned after designs on Greek vases, is decorated with gold-leaf carvings and sunburst inlays of ebony. Student chair backs carry the names of Greek islands and towns. The professor's and guests' chairs bear the names of
Plato,
Aristotle, and
Socrates. A line from
Homer's Iliad exhorts students to strive for nobility and excellence. The deep red wall color is repeated in the drapery valance with its Greek key design. Archives in the alcove cabinet record visits by the Queen of Greece, and by ecclesiastic and diplomatic officials. In 1940, one of two marble
pilasters for the room that was being constructed in Greece from the
Mt Pentele stone quarry used to build the
Parthenon, cracked shortly before shipping to the United States. With an invading
World War II army massing on its borders, the column could not be replaced. Greek architect John Travlos ordered a matching crack etched into the undamaged column in order to preserve the symmetry. The marble was transported on the last ship to sail to America prior to the invasion and occupation of Greece. In November 1941, Travlos crouched under a blanket in his apartment closet listening to banned
BBC radio broadcasts. Suddenly, Greek ecclesiastical music spouted from the radio, and Travlos heard the people of Pittsburgh dedicate his memorial to Greece.
Indian The Indian Classroom is modeled on a typical 4th–9th century AD courtyard from
Nalanda mahavihara, an Indian
Buddhist monastic complex which is often characterized as an early university. At its peak, Nalanda's five temples and 11 monasteries covered and attracted thousands of students from across Asia. The room depicts a classroom courtyard at Nalanda. The pale rose bricks, specially fabricated to reflect the hue and texture of the original, form the walls, floor, pilasters, and niches. Six stone columns decorated with rosettes, swags, and fruit echo those found at Nalanda. The rear sculpture wall, a scaled down version of one at Nalanda's
Stupa #3, bears images of six
Bodhisattvas. Flanking display cases hold replicas of ancient bronze sculptures found at the site. A watercolor
triptych depicts male and female students at Nalanda as scholar-monk Silabhadra says farewell to 7th-century Chinese traveler
Xuanzang. Gurus taught classes in the courtyards, which were surrounded by residential cells. The
cherry wood chalkboard doors and flanking cabinets bear carved seals of Nalanda University with recumbent deer above a
Sanskrit inscription. Cast steel grilles in front of the windows, hand wrought into forms which reflect decorative elements of the columns, filter the light and soften the view of the 20th-century outside world. Renaissance 3 Architects received the Master Builders Association Craftsmanship Award for its construction.
Irish The Irish Classroom is the smallest of the Nationality Rooms. The
limestone room is designed in Irish Romanesque style, which flourished from the 6th to the 12th centuries and is similar in type, size, and materials to oratories first built on the west coast of Ireland. Adapted from
Killeshin Chapel in
County Carlow, the triangular doorway gable is carved with human and animal masks against a background of zig-zag and beaded designs. The blackboard frame's pendental arches are carved with foliage, images of wolfhounds, and stylized cat masks. On the opposite wall a sculptured stone chest, under a monumental recessed arch, is patterned after a bishop's tomb in
Cormac's chapel. Its ornate sculpture depicts the "Great Beast", a greyhound-like animal wreathed in
interlaced ornaments. On the chest rests a replica of the Gospels from the
Book of Kells. The wrought-iron case bears bird and beast designs drawn from the Book of Kells. Stained-glass windows, created in 1956/7 by the Harry Clarke Studios in Dublin, portray famous teachers at three of Ireland's oldest centers of learning;
St. Finnian at
Clonard,
St. Columkille at
Derry, and
St. Carthach at
Lismore. Illuminations in the Book of Kells inspired the chair design, except for the wolfhound heads. The oak-beamed ceiling is characteristic of Irish oratories. The cornerstone, from the
Abbey of Clonmacnoise, is carved with the
Irish Gaelic motto, "For the Glory of God and the Honour of Ireland." The cornerstone conceals a container of earth from
Northern Ireland (
County Armagh) and the
Republic of Ireland (
County Meath). The room was designed by Harold G. Leask, the former Inspector of National Monuments with
The Office of Public Works (The O.P.W.) in Ireland.
Gov. David L. Lawrence,
Art Rooney Sr., founding owner of the
Pittsburgh Steelers, and James W. Knox, a member of the Pittsburgh Irish community, were on the room's organizing committee. After the assassination of President
John F. Kennedy,
Jacqueline Kennedy ordered a Marine guard to deliver the Oval Office Presidential and American flags to
Evelyn Lincoln, private secretary to the president. In her will, Lincoln bequeathed the flags to the University of Pittsburgh for the Irish Room in honor of Knox. The John F. Kennedy scholarship for study in Ireland and a James W. Knox endowment for graduate study abroad were created from the proceeds generated from their auction.
Israel Heritage The
Israel Heritage Classroom reflects the simplicity of a 1st-century
Galilean stone dwelling or house of assembly, this room's benches are patterned after those in the 2nd–3rd-century
synagogue of
Capernaum. The
Ten Commandments, carved in
Hebrew, grace the
oak entrance door. Grapes,
pomegranates, and
dates on the stone
frieze, copied from Capernaum, represent crops grown in the Galilee. On the window wall, an inscription discovered in the 6th-century
Rehob synagogue cites the
Talmudic laws governing the growing of crops each seventh year. A scroll fragment in the rear case replicates the
Dead Sea Isaiah Scroll segment which contains the prophecy "They shall beat their swords into plowshares and their spears into pruning hooks..." Ancient wine jars flank the scroll. The professor's table, based on one found in Jerusalem's 1st-century burnt house, stands before a copy of the only existing stone
Menorah which served as a functional
candelabrum. The quotation on the chair reads: "I learned much from my teachers, more from my colleagues, and most of all from my pupils." Three segments from the 6th-century
Dura Europos murals grace the chalkboard doors,
Ezra the Scribe, reads the law;
Moses brings forth water for the 12 tribes; and the sons of
Aaron consecrate the Temple. Oak benches bear the names of the 12 tribes of Israel. The floor mosaic replicates one in the 6th century Galilean synagogue of
Beth Alpha.
Italian The Italian Classroom reflects the serenity of a 15th-century
Tuscan monastery, with its traditional devotion to religion, art, music, and education. The rear choir stall bench and shuttered windows introduce the monastic theme. The blackboard doors recall an
armadio, a cabinet behind an altar used to hold priestly vestments. The turquoise
soffitto a cassettoni (
coffered ceiling), embellished with carved, gold-leafed rosettes, was inspired by one originally in the San Domenico Convent at
Pesaro. In the
architrave, names of famous Italians are inlaid in olive wood. The lettering resembles that used in the inscription on the
Arch of Titus in Rome. Bay benches are cushioned in red velvet. The red tile floor is set in a herring-bone pattern similar to that of
Florence's Palazzo Vecchio. An original Florentine fireplace, made of sandstone from the quarries of
Fiesole, bears the carved
Latin inscription, "O Lord, do not forsake me." On either side stand
Savonarola chairs. Monastery bench designs, adapted for student use, are carved with names and founding dates of Italian universities. The oldest is the
University of Bologna, established in 1088. From the front of the room, a bronze bust of
Dante Alighieri faces Giovanni Romagnoli's mural of
Elena Lucrezia Cornaro Piscopia, the first woman in the world to achieve a university degree when she was awarded a
Doctor of Philosophy degree in 1678 by the
University of Padua.
Japanese The Japanese Nationality Room celebrates traditional Japanese carpentry and woodcraft, evoking the mid-18th century
minka which were houses of the non-ruling classes of Japan. This room is representative of minka that might be the residence of an important village leader in a farm village on the outskirts of
Kyoto and the design represents the core rooms of the house: a plank-floored ima or household sitting room and the adjacent doma, an area with a compacted earthen floor used as an entry-way, for cooking and as a work space. The doma was also a space for household life, where farm, business and craft activities could be carried out under a roof. In the past it also provided a place for drying grain during rainy weather. A central feature of the room is the massive, rough-hewn beam, the ushibari of Japanese
pine, supported by posts at the boundary of the ima and doma elements of the room. The main beam in this room had been carefully preserved by the carpenters in Japan for many years until a project could be found to appropriately utilize its unique curvature. To accommodate the weight concentrated on the primary post, the daikokubashira, the layout of the room has been designed so that this main post sits directly above the building's existing superstructure. The major posts are made of
zelkova, (
keyaki), a hardwood with a distinctive grain pattern. The other beams are made of American pine. The posts and beams are connected without nails, using traditional joinery techniques. The ceiling is of
bamboo with joined beams which would have allowed for the circulation of warm air from fireplaces below. The walls mimics the typical mud plaster walls through the use of textured wallpaper and wooden
wainscoting for greater durability. The bay window is a structure not in keeping with traditional Japanese design and has been masked with panels that suggest shôji, sliding doors of lattice frames, covered with translucent paper. The ima is suggested with a plank wood floor covering the largest portion of the room. The floor toward the front of the room is made of a simulated earthen material to represent a portion of the doma where it meets the ima's wooden floor. Although the traditional design would call for the wooden floor to be much higher than the dirt floor, this feature has been eliminated in the classroom for practicality. Located on the rear wall, is the
tokonoma, a raised alcove for the display of treasured objects, flower arrangements, and seasonal decorations. The tokonoma has been built in shoin-style, with shôji along its exterior side. The corner post, tokobashira, is made of
ebony and the floor of the tokonoma is
tatami. The display cases at the rear of the room and along the interior wall contain artifacts in keeping with the period and include a
chagama and
furo, an iron kettle with metal charcoal hearth/brazier combination, used in the "tea ceremony". While typical minka would have no chairs at all, in keeping with its function as a classroom, the classroom has wooden chairs designed and crafted specifically for students and are consistent in design with the rest of the room. Sliding wooden panels cover the blackboard at the front of the room. The interior surface of the entry door has been modified with a wooden treatment that suggests the sliding door that was the typical entrance to a house of this period.
Korean The Korean Nationality Room is based on the 14th century Myeong-nyundang (Hall of Enlightenment), the main building at the
Sungkyunkwan in
Seoul which served as Korea's royal academy during the
Goryeo and
Joseon dynasties from 918 to 1897. The room mimics the three connected rooms of the Myeong-nyundan with twin oak columns forming a symbolic boundary and a central room featuring a lofted ceiling that contains two hand-carved phoenixes facing a symbolic pearl of wisdom, a design inspired by the royal palace of the Joseon Dynasty. The room was primarily built off-site in Korea, disassembled, and shipped to Pittsburgh, where it was reassembled in the Cathedral of Learning by Korean carpenters who kept with traditional Korean building practices of not using nails or screws in construction. Windows are covered with a specially produced paper product made of
mulberry tree fiber. A display niche to the right of the classrooms blackboards contains a book illustrating
Crown Prince Hyomyeong's matriculation to Sungkyunkwan in 1817, while another niche displays the
Four Treasures of the Study: brush, ink, paper and ink-stone.
Philippine The Philippine Nationality Room began construction on May 3, 2018, overcoming a prior hold on the project since 2011. The design of the Philippine room is based on a traditional
bahay na bato. The Philippine Nationality Room was designed by Pittsburgh architect Warren Bulseco and Philippine architect Melinda Minerva “Popi” Laudico. Professor
Fernando Zialcita, a noted authority on Philippine ancestral houses from Ateneo de Manila University, served as adviser to the project. Filipino-American artist Eliseo Art Silva created paintings for the room. The room features
lattice-patterned windows using
capiz shells, a popular alternative to glass in the Philippines. The chairs are backed with solihiya,
rattan woven into a sunburst pattern. An etched silver Murano mirror from Europe and a bronze chandelier from the United States highlight the role of imported design in Filipino culture. Other artifacts showcase pre-Colonial cultures. The
Golden Tara is a Hindu sculpture viewed by the
Manobo tribe as a protective nature spirit. The
Manunggul Jar, excavated from a Neolithic burial site in Palawan, depicts human figures traveling in a boat to the afterlife. The room's ceremonial key, designed by Christopher Purpura, incorporates mythological figures from the
Meranao people of Mindanao—the serpent Naga and the bird Sarimanok.
Polish The Polish Classroom was inspired by rooms in
Kraków's
Wawel Castle, for centuries the residence of kings. The Polish astronomer
Nicolaus Copernicus, and the science that his theories revolutionized, are also a major theme of the room. A replica of the famous
Jan Matejko portrait of Copernicus shows him as a young man pursuing his study of the universe from a workshop on the roof of his uncle's house in Allenstein (
Olsztyn). In the bay stands an enlarged replica of the 16th-century
Jagiellonian globe, one of the oldest existing globes to depict North America as a separate continent. The original globe was only eight inches high and was designed to operate as a clock and calendar. It took a
metalsmith in Kraków five years to complete the large globe in this room. Artists from Kraków also came to Pittsburgh to paint the ceiling of beams with informal geometric
Renaissance decorations. The room is illuminated by a bronze chandelier bearing a stylized
Polish eagle. The
walnut seminar table was copied from one in a state dining room at Wawel Castle. The windows combine hexagonal handmade
roundels, similar to those in Wawel Castle, with stained-glass coats of arms representing Polish institutions of higher education. The cornerstone is a fragment of Gothic cornice preserved from the
Collegium Maius (1369), the ancient
Jagiellonian Library. Poland's music is represented by the original manuscript of
Ignace Paderewski's only opera,
Manru, which is displayed in the archive cabinet.
Romanian The
Romanian Classroom was designed in
Bucharest by Nicolae Ghica-Budeşti. The carved door frame is characteristic of stone thresholds of Romanian monasteries and is made is of American
limestone selected due to its similarity to Romanian limestone used in the
royal palace at Bucharest. The entrance door of the Romanian Classroom is ornately carved
oak reminiscent of
Byzantine churches in Romania. The words of
Vasile Alecsandri, one of the greatest Romanian poets of the 19th century, are carved overhead in the stone door frame from his
Ode to the Year 1855: "The Romanian is like the mighty rock which amidst the waves of the stormy and majestic sea forever remains unmoved." The floor is laid in square blocks of pink
marble imported from quarries at Ruşchiţa. The black boards are set in arched oak panels, carved in a manner of icon screens in
Eastern Orthodox and
Greek Catholic Romanian churches. These are separated by carved-twisted rope which suggests the
Roman origin of many of Romania's artistic traditions. Ancient original icons from Romania depicting the
Virgin and Child,
Christ, the
Dormition of the Virgin, and
Saint Mark are embedded in the upper section of each panel. White arca paint mixed with color gives the smooth plastered walls a bluish pink tint. A Byzantine-style
mosaic embedded in the rear wall, a gift of the Romanian government, was executed by Bucharest ceramicist Nora Steriade in gold, turquoise, bronze, ruby red, and black pieces of glass, and was originally part of the Romanian Pavilion at the
1939 New York World's Fair. The lettering for the inscription and for the entrance text is the work of Alexander Seceni. The mosaic depicts
Constantin Brâncoveanu, Prince of
Wallachia, who refused to recant the
Christian faith even at the cost of his own life and the lives of the male members of his family. The six windows have rounded
Romanesque heads reflecting tradition brought from Rome when they conquered the original
Dacian settlers in 106 AD. Two small window casements are deeply recessed and have marble window ledges. The four large center windows, form an alcove shut off from the main part of the room by an iron grilled gates wrought in Romania and hung in an arch. These gates swing back in folded sections against the plastered wall. A slab of polished marble tops the wrought-iron
radiator grille. Yellow silk draperies frame the windows and ancient icons befitting the season and holidays are exhibited in the alcove which is reminiscent of an icon shrine in an Orthodox Church. The student chairs are of dark oak hand-carved by Romanian peasant artisans using simple
pocketknives and each
splat bears a different design. The professor's reading desk was adapted from an Eastern Orthodox Church
lectern.
Russian The Russian Classroom contains folk ornamentation with traditional motifs from
Byzantium, the spiritual center of Russia. The seminar table is made of oak slabs matched in contrasting grain and held together by ornamental keys. The cut-out apron is characteristic of massive tables in the
Vologda district. The back of each student's chair has a cruciform circle pattern surmounted by triangles carved with symbols of regional or stylistic significance including the
reindeer which symbolizes the
tundra and the
sturgeon that represents the
Volga River. The professor's chair has a back of spirals surmounted by two
peacocks worshipping the tree of life. The podium is ecclesiastic in character and suggests the analoi used in Orthodox churches to support heavy Bibles. The blackboard is patterned after a
triptych, or three-leafed frame which holds icons. The doors of the blackboard are a grille of wooden spirals backed by red velvet. Above them is a carved panel with Sirin and Alcanost, the twin birds of Russian folklore that depict joy and sorrow as indistinguishable. A
dado or low
wainscot of simple horizontal oaken boards surrounds the room and incorporates the blackboard, the corner cupboard, and kiot which is a
Slavic term for a wall frame treated as a piece of furniture. Within the kiot hangs a vishivka (
appliqué and
embroidery) banner of
Saint George, patron saint of Moscow since the 15th century. The banner was made with pieces of 16th and 17th century fabric from
Venice and Paris and is an example of needlework once popular with the Russian aristocracy. The words "Valorous youth victorious over forces of evil and darkness" are carved in both Russian and English below the banner. A copy of the Avinoff family icon in the room depicts the miraculous saving of the city of Kitej from a
Tartar invasion in the 14th century. The ceiling is cornered with designs resembling those used to form traditional Easter cakes and which symbolize the four seasons, with a
bud for Spring, a
sunflower for summer,
grapes for Autumn, and a
pine cone for Winter. A
wrought iron chandelier was created by Russian-born Hyman Blum. Following a visit from
Dmitry Medvedev in 2009, a display cabinet with carved ornamentation matching the rooms original carvings was installed to house three gifts presented by the then
Russian president.
Scottish The Scottish Classroom was designed by
Reginald Fairlie of
Edinburgh in the period style of the early 17th century. The woodwork is carefully selected and treated English
pollard oak. The names of distinguished Scots are carved in the ribbon bands of the panels and include
David Livingstone who was an African missionary and explorer,
Robert Louis Stevenson who authored
Treasure Island, and
Alexander Fleming who discovered
penicillin. The inscriptions above the doors and the rear cabinet are from "
The Brus" by the 14th-century Scottish poet
John Barbour. The room's oak doors were copied from the entrance of
Rowallan Castle in
Ayrshire. A 16th-century Scottish proverb above the blackboard was taken from the
Cowgate in Edinburgh and is known as "the Scottish Golden Rule" which reads: "Gif Ye did as Ye sould Ye might haif as Ye would." The
plaster frieze was adapted from the plaster frieze at
Elcho Castle in
Perthshire and incorporates symbols of 14
Scottish clans which had members on the room committee, such as the buckle of the
Leslie Clan. The
thistle, Scotland's national flower, is rendered on the cornerstone as a tree-of-life. The
overmantel of the Scottish
sandstone fireplace that is flanked by carved kists, or log storage chests, is dominated by a portrait of poet
Robert Burns that is copied from an original by
Alexander Nasmyth which hangs in the
National Portrait Gallery of Scotland. Above the portrait is the cross of
St. Andrew, Scotland's patron saint. The bronze statuettes on the mantel near an arrangement of dried
heather are miniature replicas of heroic statues at the gateway to
Edinburgh Castle and represent the 13th-century patriot
Sir William Wallace and the 14th century freedom fighter,
Robert the Bruce, both of whom were popularized in the movie
Braveheart. Medallions in the bay windows represent the coats of arms of the four ancient Scottish universities:
Glasgow,
St. Andrew's,
Aberdeen, and
Edinburgh. The medallions in the front and rear windows are of
Elgin and
Melrose Abbeys which were 13th and 16th century seats of learning. The draperies are of
crewel-embroidered linen. The rooms lighting fixtures were inspired by an iron
coronet in Edinburgh's John Knox Museum that was retrieved from the battlefield of
Bannockburn at which Scotland won its independence from England in 1314. Student's seats resemble a chair that belonged to
John Knox. An old Scottish church furnished the pattern for the reading stand. The rear cabinet, based on an
aumbry or weapon closet, contain artifacts such as
pewter and
china used at Soutar's Inn in Ayrshire that was frequented by Robert Burns. The panels in the doors, mantel, and in-the-wall cabinets were carved in Edinburgh by Thomas Good and then shipped to Pittsburgh. The cabinetwork was done in the shops of Gustav Ketterer of
Philadelphia.
Wrought ironwork was done by
Samuel Yellin. Cut into stone above the doorways are the thistle and the
Lion Rampant, the Scottish emblem incorporated into
Britain's royal arms. The chairman of the original Scottish Classroom Committee was
Jock Sutherland.
Swedish The Swedish Classroom reflects a peasant cottage and contains murals painted by
Olle Nordmark. The special glory of the room is the rear wall paintings. The inspiration for the four framed paintings came from painted panels done by the 18th-century painter from
Hälsingland,
Gustav Reuter. Linton Wilson found the panels at the
Nordic Museum. The hooded brick fireplace derives from an original in the
Bollnäs Cottage in
Skansen, the famous outdoor museum in
Stockholm. The brilliant white walls and fireplace are constructed of 200-year-old handmade bricks. The fire tools were handwrought by Ola Nilsson, a Swedish blacksmith. He reconstructed tools used in his childhood home in Sweden. A subtle sense of humor associated with the
Swedish people is revealed in the room's paintings. A wall fresco secco depicts the
Three Wise Men dressed as
cavaliers riding to
Bethlehem, in two directions. In their midst is Sweden's patron saint,
St. Catherine. The sloped ceiling bears decorations in which the central figure is the
Archangel Gabriel, seen as a droll trumpeter with two left feet. Nearby are renditions of Justice and Knowledge surrounded by groupings of flowers. Justice uses her blindfold to hold scales that appear balanced but have an off-center fulcrum. Knowledge seems puzzled as she contemplates writing on her slate with a quill pen. Furniture and woodwork are the work of Erik Jansson of Philadelphia. The room is paneled in pine wood and features four
white oak trestle tables and four display cases that represent the four languages of Switzerland: French, German, Italian, and
Romansch. 26 country-style chairs contain painted carvings of the symbols of Switzerland's cantons that form the
Swiss Confederation which united in 1291. The furniture and woodwork were crafted by Richard Sink of French Creek, WV. Windows are leaded and feature three stained-glass shields of the original Swiss cantons as well as the
Swiss Cross. The Swiss Cross is also displayed stone over the door, within the window of the door, and on the lectern which is modeled on a 17th-century schoolmaster's desk. A carved and painted frieze depicts Swiss flora and fauna and an antique map depicts Switzerland by its ancient Latin name of "Helvetia". Portraits on the back wall, done in the style of
Hans Holbein the Younger, depict
Jean-Jacques Rousseau and
Johann Heinrich Pestalozzi. Wood beamed ceiling contains LED lights that are hidden behind rosettes. The room is illuminated by an old mosque lamp of perforated copper with handblown glass wells that originally held oil, water, and wicks. The sofas, from the Arabic word "suffah", are covered in satin and rest on a dark red and white marble foundation. The marble floor slopes down at the entrance where visitors would remove their shoes before entering. In 1997, a glass-paneled French-style door to the room was added to allow the room to be visible from passers-by. The doors were patterned after a grille design found on the windows of the 18th century Ibn Room in the Islamic section of the
Metropolitan Museum in New York City.
Turkish The
Turkish Nationality Room was based on a baş odası, or main room, of a typical Turkish house or hayat with an outer gallery and a side
iwan. The iwan is intended to be used as an entrance area similar to the royal pavilion, annexed to the
Yeni Mosque in the
Eminönü district of
Istanbul, which was built in 1663 for the use of
Sultan Mehmet IV. In the iwan of the Turkish Nationality Room, four ceramic panels, painted on clay tiles in
Ankara, represent various cultures and points in Turkish history. The largest ceramic is a portrait of
Mustafa Kemal Atatürk, the founder and first president of the
Republic of Turkey, who is depicted instructing the nation on the
Turkish alphabet adopted in 1928. Other panels depict
Uighur princesses, who represent the importance of women in circa 9th-century Turkish culture, a reproduction of "Two merchants in conversation" by which signifies the appearance of realism in Turkish drawing around the 14th century; and a depiction of
Suleiman the Magnificent at the circumcision ceremony of
Şehzade Beyazıt and Şehzade Cihangir which represents the apex of
Ottoman power and culture in the 16th century. The main room attempts to convey the theme of democracy with its seating distributed around the perimeter of the room which suggests that all occupants are equals. Hardwood seats mimic
divan-style seating found in a typical baş odası with back panels that function as writing tablets which when retracted form a "parted curtain" motif, a common shape used for household wall niches. The room's ceiling, modeled after the Emirhocazade Ahmet Bey summer house in
Safranbolu, is a combination of traditional çitakâri and kündekâri carpentry art that creates intricate geometric patterns using small pieces of wood attached without metal fasteners or glue. Clear glass windows along one wall frame a painted mural depicting a panoramic view of Istanbul which is feature similar to that seen in the mirrored room of the
Topkapi Palace. The stained glass windows depict a tulip shape which served as a symbol of the Ottomans in the 18th century. Display cases contain historic examples of
Turkish calligraphy, ceramics, jewelry, miniatures and textiles as well as an
evil eye. The entrance symbol above the exterior door depicts the current
flag of Turkey, adopted in 1936.
Ukrainian The
Ukrainian Classroom is designed in
Baroque style with richly carved wood, colorful ceramics, and intricate metalwork in this adaptation of a nobleman's reception room. The entrance has an archaic trapezoidal form with carved motifs of water (chevron), wheat, and sunflowers. The
lintel inscription commemorates Ukraine's millennium of
Christianity (988–1988). The stove tiles depict festival practices and daily life. A pokutia, or place of honor, is defined by the benches and the traditional icons of
St. Nicholas, the
Mother of God,
Christ the Teacher, and
St. George. The chalkboard doors bearing the Tree of Life are surmounted by three
Cyrillic alphabets used in Ukraine in the 11th, 17th, and 19th centuries. On the right wall, a copper bas-relief depicts the development of Ukrainian culture over the millennia. It portrays cultural centers, historical figures, rituals, monuments, and the evolution of Ukrainian ornament. The massive crossbeam's elaborate carvings include a protective solar symbol and a quotation from Ukraine's bard
Taras Shevchenko (1814–1861): "Learn, my brothers! Think and read ... Learn foreign thoughts, but do not shun your own country!" Beyond the wood posts, reminiscent of a gallery, the display case houses traditional Ukrainian art and crafts.
Welsh The Welsh Classroom, was perhaps the longest in coming, as reservations for a Welsh room were originally requested in the 1930s. The existing room, installed on the third floor of the Cathedral of Learning, is patterned after the Pen-rhiw Chapel at
St Fagans National History Museum near
Cardiff and represents a traditional 18th-century Welsh chapel, which often became the center of village social life. By that time, the English ruled the country and imposed law requiring English as the official language of the courts and churches. In order to worship and hold church services in their native
Welsh language, and spurred on by the non-conformist movement started by the
Protestant Reformation, the Welsh people met in secret locations such as barns or homes, as suggested by the simple white walled chapel modeled in this Nationality Room. The minister would live at one end as depicted by the display case with dishes and pottery that would be found in a Welsh kitchen and the long oak case clock seated on a
Welsh slate foundation opposite the main blue door. The clock, considered one of the most important furnishings in a Welsh home, has, instead of numbers, a painted square face that spells out "Richard Thomas" suggesting that he was both the maker and owner of the clock. The bay window serves as the focus of the Welsh chapel worship, including a blue raised pulpit with a view of the entire congregation and two Deacon's benches from which to monitor the actions of the minister and congregation. At the other end of the room is a table bearing a lectern, as such worship places would often become a school room for both children and adults during week days. Above the chalk board is the
Lord's Prayer, written in Welsh. Pew benches of
pine face the lectern. Along the wall, larger and more comfortable blue-painted pew boxes with wooden floors, often also serving as barn cattle stalls, would have served wealthier families who would sometimes bring straw, blankets, hot bricks, or dogs to keep them warm. To reflect the simplicity of such meeting places, the ceiling beams are made of
poplar and flooring suggests a typical chapel dirt floor. The carved stone dragon over the doorway, the long-time
Welsh national symbol, represents the legendary victory of the
Red Dragon over the White Dragon of numerous tales of
medieval Welsh literature and represents the triumph of Good over Evil.
Yugoslav The
Yugoslav Classroom was designed by Professor , a sculptor and director of the Industrial Art School in
Zagreb. The walls are paneled in
Slavonian oak and hand-carved with geometric figures and the old Slavonic heart design which is combined with a running geometric border, a favorite with
South Slavs. This type of work, known as "notch-carving", was traditionally done with a penknife as pastime of peasants. On the corridor wall is a specially designed coat of arms featuring a double-headed eagle symbolizing the religious influences of Eastern
Empire of Byzantium and Western
Empire of Rome along with the founding dates of the universities in
Belgrade,
Ljubljana, and
Zagreb. The ceiling is carved with intricate
Croatian,
Slovenian, and
Serbian folk motifs and the wooden chandeliers are similar to those in the
White Palace in Belgrade. The professor's chair and guests chairs were carved by students at the International Art School in Zagreb, and each spindle of the chairs bears a different notched design. At the window, a bronze sculpture by Vojta Braniš, "Post-War Motherhood", depicts a barefoot mother nursing her child whom she has protected during the long months of war. In the display cabinet is a lace portrayal of the
Madonna of Brežje by Slovenes Leopoldina Pelhan and her student Mila Božičkova which took six months to complete and was inspired by the story of a lace Madonna created by the villagers of
Sveta Gora in order to replace a priceless painting during
World War I. The ceiling squares contain one of the three alternating ceiling ornaments suggesting flowers, stars, the sun, and other radiating geometric patterns, which are organized into a matrix of 9 by 7 squares. Above the paneled walls, six portraits depict prominent Yugoslavs. On the front wall are portraits of
Vuk Stefanović Karadžić (1787–1864) who compiled the Serbian dictionary and collected, edited, and published Serbian national ballads and folk songs; and Croatian statesman
Bishop Josip Juraj Strossmayer (1815–1905) who was known for his efforts to achieve understanding between the
Roman Catholic and
Greek Orthodox churches, founder of the Yugoslav Academy of Sciences and Arts (now the
Croatian Academy of Sciences and Arts). On the corridor wall are likenesses of
Baron George von Vega (1754–1802), a Slovenian officer in the
Austrian army and mathematician recognized for various works including a book of logarithm tables; and
Petar Petrović Njegoš (1813–1851), the last prince-bishop of
Montenegro, who was celebrated for his poetry. Represented on the rear wall are
Rugjer Bošković (1711–1787), a Ragusan scientist distinguished for his achievements in the fields of mathematics, optics, and astronomy; and
France Prešeren (1800–1849) who is considered the greatest Slovenian classical poet. The Yugoslav Classroom's executive committee was first organized in 1926 under the chairmanship of Anton Gazdić, the president of the
Croatian Fraternal Union. After his death in September 1933 the new chairman was Steve Babić, the previous vice-chairman, and the new vice-chairwoman became Catherine Rušković McAleer. Famous Croatian sculptor
Ivan Meštrović was a great supporter of the Classroom and gave two of his works to the university, one a bust of
Mihajlo Pupin and the other a self-portrait. The Classroom was designed to portray the culture and traditions of the
Yugoslavs, who were considered as inhabitants of the various
Yugoslavian regions:
Croatians,
Dalmatians,
Slavonians,
Slovenians,
Serbians,
Bosnians and
Montenegrins.
Proposed rooms The university has two additional Nationality Room Committees which are in various stages of fund raising and room design. Proposed rooms include the following: • Finnish • Iranian • Thai Prior projects for Danish, Latin American, Moroccan, and Caribbean rooms have been discontinued. ==Gallery==