About Sacred Heart
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The Basilica of the Sacred Heart of Jesus was founded in 1880. The original church, known as Saints Peter and Paul, was a small wooden building located at the southwest corner of Marietta and Alexander Streets, twelve blocks west of the present location. When the area became too commercial, parishioners made plans to purchase a new site and build a church "at some distance from the business district."
In 1897, an Atlanta architect, W. T. Downing, was commissioned to design the new church. In keeping with the then popular devotion to the Sacred Heart, the name of the church was changed to "The Sacred Heart of Jesus." The architectural style is basically French Romanesque, with some variations and additions. On May 13, 1976, the Church of the Sacred Heart was entered in the National Register of Historic Places, in recognition of its "artistically significant architecture." On February 22, 2010, Sacred Heart was elevated to the dignity of minor basilica by His Holiness Pope Benedict XVI and is now known as The Basilica of the Sacred Heart of Jesus. |
NEW: Take a Video Tour of the Basilica of the Sacred Heart of Jesus
The Exterior
Visible in the exterior perspective of the church are repeated rounded arches, a typical characteristic of Romanesque style. The pattern of rounded arches is repeated throughout the church interior.
Departing from the usual rock masonry, architect Downing used pressed brick and terra cotta for the exterior. As you stand at the western main entrance to the church and look upward toward the twin octagonal towers, you can notice how the repeated arches, windows, and columns serve both functionally and artistically to enhance the building's facade. The identical towers rise one-hundred and thirty-seven feet above street level and were once the tallest points of the Peachtree neighborhood.
Between the two towers, a top pediment contains the rose window with an emblem of the Sacred Heart as its center. When the rays of the setting sun filter through the rose window, the interior of the church glows in a myriad of kaleidoscopic colors.
Triple-arched doorways provide entrance into the vestibule. Above the doorways, terra cotta arches frame three stained glass windows, and a terra cotta lintel, decorated with acanthus leaves, connects the three doors.
The Vestibule
The vestibule (or narthex) provides a desirable space transition from the street to the nave of the church. In the vestibule is a statue of Jesus manifesting his Sacred Heart.
The plaques on either side of the center doors leading into the church commemorate: 1) the visit of Mother Theresa of Calcutta who came to Sacred Heart for a Mass on June 12, 1995. She was present in Atlanta for the blessing of the Sisters of Charity AIDS hospice, the Gift of Grace House, which is within the boundaries of Sacred Heart parish and 2) the memory of Father Michael A. (Tony) Morris (1938-1998), pastor of Sacred Heart from 1973 to 1983, who led the parish in a period of growth and revitalization.
The Interior
When you step inside the church, you should pause a moment to survey the interior as a whole. A sweep of high arches down the central nave immediately directs your attention past the triumphal arch to the sanctuary, with its dominant baldachin displaying a life-sized crucifix. The baldachin serves as a canopy over the Holy Tabernacle in which the Blessed Sacrament is reserved.
High above the tabernacle, in the dome of the apse, is a full-figured painting of Christ manifesting his Sacred Heart. Christ stands on the globe of earth, and two angels kneel on either side, surrounded by clouds.
Around the curve of the triumphal arch, which separates the nave from the sanctuary, are five painted symbols. The symbol of Christ as the Lamb of God is at the topmost point of the arch. The other four symbols represent the four evangelists: the lion, St. Mark; the eagle, St. John; the bull, St. Luke; and the man, St. Matthew.
At the gallery level, on the south side of the arch, is the escutcheon of the Society of Mary; and on the north side, at the gallery level, is an archdiocesan coat of arms.
Before moving down the nave for a closer look at the sanctuary, notice the confessionals across the back wall. These confessionals were elaborately carved from Philippine mahogany, and have been carefully preserved.
Above the triple-door entrance is a reproduction of Raphael's Madonna of the Chair, in a circular frame.
Throughout the church, you will notice the names of a number of Sacred Heart's early families who contributed special gifts to the church.
The Choir Loft
Halfway down the center aisle, pause again and look back to the entrance for a good view of the Sacred Heart rose window and the magnificent church organ.
Organ
The organ was built by Casavant Freres of St. Hyacinthe, Quebec, Canada who have been building organs since 1879. The new organ was installed in 2001. The organ consists of 42 ranks of pipes, with two ranks of pipes coming from older organs. The organ façade is from the original organ installed at Sacred Heart in 1901 (a Hook and Hastings instrument). The façade has been restored to its original rich color. The organ is played at most Masses as well as at weddings and funerals. Each year the parish hosts a St. Cecilia Organ Recital where the vast capabilities of the organ are fully displayed.
Carillon
The electronic carillon was built by The Verdin Company of Cincinnati, Ohio. The new carillon was installed in 2007 as a replacement for a system that was installed in the 1970s. The carillon plays the ”Call to Worship” before each Sunday Mass, “The Angelus” at noon each day, a joyful peal after weddings, a slow toll at funerals, and a large selection of hymns after Mass.
The Sanctuary
Noteworthy objects in the sanctuary are the brass kneelers, the sanctuary lamp, two Victorian candelabra flanking the altar, the intricately detailed brass pulpit, and the central tabernacle. On the door of the tabernacle is the scene of the Annunciation.
At the top of the baldachin, the Latin form of the Hand of God issues from the clouds. Three extended digits of the hand represent the Holy Trinity, and the two closed fingers represent the two-fold nature of the Son—human and divine.
On either side of the crucifix is a vertical series of six symbols representing instruments of Christ's Passion. Beginning with the top symbol on the left, they are: the thirty pieces of silver; the crown of thorns; water with which Pilate washed his hands; the seamless tunic of Christ for which lots were cast; hammer, nails and pliers used for nailing Christ to the cross; and the pillar of the scourging. The six symbols on the right represent: the ladder, spear and sponge with vinegar which Roman soldiers used to torture Christ; the cock that crowed with Peter's denial; the INRI, King of the Jews, sign placed on top of the cross; Veronica's veil with which she wiped the face of Christ; a mace and halberd of the Roman soldiers; and a chalice and cross representing the agony in Gethsemane.
The Stained Glass Windows
An outstanding feature of Sacred Heart church is its stained glass windows. Twenty-eight stained glass windows, from the Mayer studios in Munich, were installed in the church in 1902. There are fourteen windows along the walls of the nave, and seven pairs of narrow windows in the curve of the apse, above the sanctuary.
The seven pairs of windows in the apse have an apparitional theme, and portray particular miraculous appearances. Directly behind the cross, at the top of the baldachin, the central pair of windows depicts Christ appearing to St. Margaret Mary Alacoque, revealing his Sacred Heart. To the left, the next pair of windows shows the angel of God appearing to Christ as He prayed in the garden of Gethsemane while His apostles slept. In the second pair to the left of the Sacred Heart pair of windows, Our Lady and the Christ Child appear to St. Simon Stock, and present him with the scapular. In the third pair on the left, Jesus appears to Mary Magdalene, in front of the sepulchre.
To the right of the Sacred Heart pair of windows, the first two windows show Our Lady and the Christ Child appearing to St. Dominic, instructing him in the use of the rosary. The second set shows Christ appearing before St. Peter, and giving him the keys to the kingdom, in the presence of James and John. The third pair on the right is thought to portray St. Monica's vision of a radiant light, which revealed her seventeen-year old son, Augustine, to her. St. Monica was reassured about her son's future through the vision, and the visit of the radiant light served as a later inspiration to St. Augustine himself.
The fourteen windows along the walls of the nave portray episodes in the life of Christ. Beginning with the window nearest St. Joseph's chapel on the south side, they progress to the rear of the church, and continue down the north side aisle to the chapel of Our Lady. In order, on the south wall, they are:
The Annunciation
The Visitation
The Nativity
The Presentation
The Finding in the Temple
The Wedding Feast at Cana
The Sermon on the Mount
Along the north wall, the episodes depicted are:
Jesus Welcoming the Children
Jesus Washing Peter's feet
The Last Supper
The Crucifixion
The Resurrection
The Ascension
The Descent of the Holy Spirit
The Side Aisles and Chapels
In the vaulting of the side chapels and side aisles, you can notice a departure from the Romanesque architectural style. The groin vaulting appears in early Renaissance architecture, and provides a contrast to the rounded arches of the central nave, which in turn soften the effect of the side aisles.
The south aisle leads to the chapel of St. Joseph. As well as the statue of St. Joseph, the chapel contains a free-standing statue of St. Anthony of Padua, with the Christ Child in his arms. There is also a stand holding seven-day votive candles, duplicated in the opposite chapel of Our Lady.
The principal statue in the chapel of Our Lady, at the end of the north aisle, is that of Mary, Mother of the Church. She stands in the position of mediator between heaven and earth and crushes the serpent (symbol of evil) underneath her feet. On the side wall of the chapel is a full-length reproduction of the image of Our Lady of Guadalupe as she appeared on the cape of Saint Juan Diego in 1531. The Virgin Mary in this aspect has been given the title: "Patroness of the Americas and the Philippine Islands." The image can be opened out to be seen better by the congregation during services.
The ornate baptismal fount just outside the rail in front of the chapel of Our Lady was a gift to the church in 1901 from a parishioner. It is moved to the front of the center aisle for baptisms at the Easter Vigil.
Between the fourteen stained glass windows are Stations of the Cross. The Stations begin in front of Our Lady's chapel, with “Jesus Is Condemned to Death,” and they end, near the chapel of St. Joseph, with Station XIV, “Jesus Is Laid in the Tomb.”
Small crosses with candles were placed in the church when Sacred Heart was consecrated in 1920: eight on the nave walls, and two on the sanctuary walls. These crosses have a special meaning for Sacred Heart parishioners, as they represent the continuance of Sacred Heart as a sacred place for Catholics to worship.
While parishioners take a great deal of pride in the artistic and historic merit of the Sacred Heart building, the church is much more deeply significant to them. Its various signs and symbols are immediate pictorial reminders in matters of the Catholic faith. In the medieval sense of architectural art, these signs and symbols are also educational. Our prayers unite with those of generations who have worshipped here before us, and sustain a link with those who will worship here in the future. United with the daily offering of the Holy Eucharist, our collective prayers are, in a true sense, continuously rendered unto God the Father, through the Sacred Heart of Jesus.
The Rectory
The building on the north side of the church is a three-story wedge-shaped structure, built in 1978. A reception foyer and parish offices occupy the street level floor. Private living quarters for priests are provided on the top floor. Parish assembly rooms and classrooms are located on the ground-level.
A courtyard between the church and the rectory serves to integrate the rooms on the ground level of the rectory with the Parish Center located in the undercroft of the church. The courtyard also provides natural lighting for the stained glass windows along the north side of the church.
Visible in the exterior perspective of the church are repeated rounded arches, a typical characteristic of Romanesque style. The pattern of rounded arches is repeated throughout the church interior.
Departing from the usual rock masonry, architect Downing used pressed brick and terra cotta for the exterior. As you stand at the western main entrance to the church and look upward toward the twin octagonal towers, you can notice how the repeated arches, windows, and columns serve both functionally and artistically to enhance the building's facade. The identical towers rise one-hundred and thirty-seven feet above street level and were once the tallest points of the Peachtree neighborhood.
Between the two towers, a top pediment contains the rose window with an emblem of the Sacred Heart as its center. When the rays of the setting sun filter through the rose window, the interior of the church glows in a myriad of kaleidoscopic colors.
Triple-arched doorways provide entrance into the vestibule. Above the doorways, terra cotta arches frame three stained glass windows, and a terra cotta lintel, decorated with acanthus leaves, connects the three doors.
The Vestibule
The vestibule (or narthex) provides a desirable space transition from the street to the nave of the church. In the vestibule is a statue of Jesus manifesting his Sacred Heart.
The plaques on either side of the center doors leading into the church commemorate: 1) the visit of Mother Theresa of Calcutta who came to Sacred Heart for a Mass on June 12, 1995. She was present in Atlanta for the blessing of the Sisters of Charity AIDS hospice, the Gift of Grace House, which is within the boundaries of Sacred Heart parish and 2) the memory of Father Michael A. (Tony) Morris (1938-1998), pastor of Sacred Heart from 1973 to 1983, who led the parish in a period of growth and revitalization.
The Interior
When you step inside the church, you should pause a moment to survey the interior as a whole. A sweep of high arches down the central nave immediately directs your attention past the triumphal arch to the sanctuary, with its dominant baldachin displaying a life-sized crucifix. The baldachin serves as a canopy over the Holy Tabernacle in which the Blessed Sacrament is reserved.
High above the tabernacle, in the dome of the apse, is a full-figured painting of Christ manifesting his Sacred Heart. Christ stands on the globe of earth, and two angels kneel on either side, surrounded by clouds.
Around the curve of the triumphal arch, which separates the nave from the sanctuary, are five painted symbols. The symbol of Christ as the Lamb of God is at the topmost point of the arch. The other four symbols represent the four evangelists: the lion, St. Mark; the eagle, St. John; the bull, St. Luke; and the man, St. Matthew.
At the gallery level, on the south side of the arch, is the escutcheon of the Society of Mary; and on the north side, at the gallery level, is an archdiocesan coat of arms.
Before moving down the nave for a closer look at the sanctuary, notice the confessionals across the back wall. These confessionals were elaborately carved from Philippine mahogany, and have been carefully preserved.
Above the triple-door entrance is a reproduction of Raphael's Madonna of the Chair, in a circular frame.
Throughout the church, you will notice the names of a number of Sacred Heart's early families who contributed special gifts to the church.
The Choir Loft
Halfway down the center aisle, pause again and look back to the entrance for a good view of the Sacred Heart rose window and the magnificent church organ.
Organ
The organ was built by Casavant Freres of St. Hyacinthe, Quebec, Canada who have been building organs since 1879. The new organ was installed in 2001. The organ consists of 42 ranks of pipes, with two ranks of pipes coming from older organs. The organ façade is from the original organ installed at Sacred Heart in 1901 (a Hook and Hastings instrument). The façade has been restored to its original rich color. The organ is played at most Masses as well as at weddings and funerals. Each year the parish hosts a St. Cecilia Organ Recital where the vast capabilities of the organ are fully displayed.
Carillon
The electronic carillon was built by The Verdin Company of Cincinnati, Ohio. The new carillon was installed in 2007 as a replacement for a system that was installed in the 1970s. The carillon plays the ”Call to Worship” before each Sunday Mass, “The Angelus” at noon each day, a joyful peal after weddings, a slow toll at funerals, and a large selection of hymns after Mass.
The Sanctuary
Noteworthy objects in the sanctuary are the brass kneelers, the sanctuary lamp, two Victorian candelabra flanking the altar, the intricately detailed brass pulpit, and the central tabernacle. On the door of the tabernacle is the scene of the Annunciation.
At the top of the baldachin, the Latin form of the Hand of God issues from the clouds. Three extended digits of the hand represent the Holy Trinity, and the two closed fingers represent the two-fold nature of the Son—human and divine.
On either side of the crucifix is a vertical series of six symbols representing instruments of Christ's Passion. Beginning with the top symbol on the left, they are: the thirty pieces of silver; the crown of thorns; water with which Pilate washed his hands; the seamless tunic of Christ for which lots were cast; hammer, nails and pliers used for nailing Christ to the cross; and the pillar of the scourging. The six symbols on the right represent: the ladder, spear and sponge with vinegar which Roman soldiers used to torture Christ; the cock that crowed with Peter's denial; the INRI, King of the Jews, sign placed on top of the cross; Veronica's veil with which she wiped the face of Christ; a mace and halberd of the Roman soldiers; and a chalice and cross representing the agony in Gethsemane.
The Stained Glass Windows
An outstanding feature of Sacred Heart church is its stained glass windows. Twenty-eight stained glass windows, from the Mayer studios in Munich, were installed in the church in 1902. There are fourteen windows along the walls of the nave, and seven pairs of narrow windows in the curve of the apse, above the sanctuary.
The seven pairs of windows in the apse have an apparitional theme, and portray particular miraculous appearances. Directly behind the cross, at the top of the baldachin, the central pair of windows depicts Christ appearing to St. Margaret Mary Alacoque, revealing his Sacred Heart. To the left, the next pair of windows shows the angel of God appearing to Christ as He prayed in the garden of Gethsemane while His apostles slept. In the second pair to the left of the Sacred Heart pair of windows, Our Lady and the Christ Child appear to St. Simon Stock, and present him with the scapular. In the third pair on the left, Jesus appears to Mary Magdalene, in front of the sepulchre.
To the right of the Sacred Heart pair of windows, the first two windows show Our Lady and the Christ Child appearing to St. Dominic, instructing him in the use of the rosary. The second set shows Christ appearing before St. Peter, and giving him the keys to the kingdom, in the presence of James and John. The third pair on the right is thought to portray St. Monica's vision of a radiant light, which revealed her seventeen-year old son, Augustine, to her. St. Monica was reassured about her son's future through the vision, and the visit of the radiant light served as a later inspiration to St. Augustine himself.
The fourteen windows along the walls of the nave portray episodes in the life of Christ. Beginning with the window nearest St. Joseph's chapel on the south side, they progress to the rear of the church, and continue down the north side aisle to the chapel of Our Lady. In order, on the south wall, they are:
The Annunciation
The Visitation
The Nativity
The Presentation
The Finding in the Temple
The Wedding Feast at Cana
The Sermon on the Mount
Along the north wall, the episodes depicted are:
Jesus Welcoming the Children
Jesus Washing Peter's feet
The Last Supper
The Crucifixion
The Resurrection
The Ascension
The Descent of the Holy Spirit
The Side Aisles and Chapels
In the vaulting of the side chapels and side aisles, you can notice a departure from the Romanesque architectural style. The groin vaulting appears in early Renaissance architecture, and provides a contrast to the rounded arches of the central nave, which in turn soften the effect of the side aisles.
The south aisle leads to the chapel of St. Joseph. As well as the statue of St. Joseph, the chapel contains a free-standing statue of St. Anthony of Padua, with the Christ Child in his arms. There is also a stand holding seven-day votive candles, duplicated in the opposite chapel of Our Lady.
The principal statue in the chapel of Our Lady, at the end of the north aisle, is that of Mary, Mother of the Church. She stands in the position of mediator between heaven and earth and crushes the serpent (symbol of evil) underneath her feet. On the side wall of the chapel is a full-length reproduction of the image of Our Lady of Guadalupe as she appeared on the cape of Saint Juan Diego in 1531. The Virgin Mary in this aspect has been given the title: "Patroness of the Americas and the Philippine Islands." The image can be opened out to be seen better by the congregation during services.
The ornate baptismal fount just outside the rail in front of the chapel of Our Lady was a gift to the church in 1901 from a parishioner. It is moved to the front of the center aisle for baptisms at the Easter Vigil.
Between the fourteen stained glass windows are Stations of the Cross. The Stations begin in front of Our Lady's chapel, with “Jesus Is Condemned to Death,” and they end, near the chapel of St. Joseph, with Station XIV, “Jesus Is Laid in the Tomb.”
Small crosses with candles were placed in the church when Sacred Heart was consecrated in 1920: eight on the nave walls, and two on the sanctuary walls. These crosses have a special meaning for Sacred Heart parishioners, as they represent the continuance of Sacred Heart as a sacred place for Catholics to worship.
While parishioners take a great deal of pride in the artistic and historic merit of the Sacred Heart building, the church is much more deeply significant to them. Its various signs and symbols are immediate pictorial reminders in matters of the Catholic faith. In the medieval sense of architectural art, these signs and symbols are also educational. Our prayers unite with those of generations who have worshipped here before us, and sustain a link with those who will worship here in the future. United with the daily offering of the Holy Eucharist, our collective prayers are, in a true sense, continuously rendered unto God the Father, through the Sacred Heart of Jesus.
The Rectory
The building on the north side of the church is a three-story wedge-shaped structure, built in 1978. A reception foyer and parish offices occupy the street level floor. Private living quarters for priests are provided on the top floor. Parish assembly rooms and classrooms are located on the ground-level.
A courtyard between the church and the rectory serves to integrate the rooms on the ground level of the rectory with the Parish Center located in the undercroft of the church. The courtyard also provides natural lighting for the stained glass windows along the north side of the church.