The Church

A church I am familiar with is the Basilica of the Sacred Heart at the University of Notre Dame. The construction of the Basilica of the Sacred Heart began in 1875, however it was not completely finished until 1923. The Basilica is of neo-Gothic style and was dedicated to Our Lady of the Sacred Heart of Jesus by Father Sorin. As mentioned, the Basilica of the Sacred Heart is of neo-Gothic style, which tends to be a more elaborate style based off of the Gothic style. As typical with the neo-Gothic style, the Basilica of the Sacred Heart contains pointed arches, elaborate images including the multitude of stained glass windows, columns, and the functions of decoration and ornament. The Basilica seems to take up the spatial dynamics of the classical sacramental church.

As one enters the south doors of the Basilica, one enters into the consideration of the Catholic doctrine. This doctrine is of the communion of the saints, “which holds that those on pilgrimage on Earth, suffering in Purgatory, and triumphant in Heaven are all bound together in Christ.” The stained glass windows work to depict saints and angels, sacraments, the rosary, visions and miracles, relics, pilgrimages, confraternities, Adoration of the Blessed Sacrament, intercessory prayer, and a love of the papacy. The Basilica of the Sacred Heart is made up of the Narthex, the Nave, the Transept, the Sanctuary, the Radiating Chapels, and the Apsidal Chapels. (Cavadini & Cunningham, 13)

The Narthex is a vestibule that leads into the main body of the church. One is reminded of the final realities of life as the stained glass windows of the Narthex depict Purgatory and the Last Judgement. (Cavadini & Cunningham, 15)

The Nave is the main body of the church made specifically for worship. The stained glass windows of the Nave depict forty saints including the founders of new religious orders, educators, and missionaries. Because the proportions of the human figure cannot fill in the entire window, the space above each figure is decorated with gothic architectural elements. This includes pointed arches, ribbed ceilings, gargoyles, and acanthus leaves. Along with the large depiction of the saint, a smaller image below each saint works to depict their narrative. (Cavadini & Cunningham, 19)

The Transept are arms set at right angles from the Nave. This creates a cruciform, or cross-shape. One must read the Transept windows by the advance of light throughout the day. You begin at the east end with the large Pentecost window and conclude at the west end with the Dormition of the Virgin window. The transept allows for people to come in and out, to enter various devotional spaces without sacrificing the central focus of the main altar. However, the central focus still works to pull you into the main cross. (Cavadini & Cunningham, 91)

The Sanctuary is raised above the Transept floor by steps and is the area that contains the altar. This is the most sacred part of the church. Here, we see two sets of windows. The saints depicted in the Sanctuary all lived in the time of Christ. The east tympanum announces the subject of the east window: Mary of The Immaculate Conception. The east windows work to depict the Holy Family, along with the story of the parents of the Virgin Mary. The west tympanum depicts The Trinity, along with depictions of Peter and Paul and depictions of Saint John the Baptist and Joseph. (Cavadini & Cunningham, 121)

The Radiating Chapel is a small, semi-circular chapel that projects out from behind the altar. These chapels work to further provide discrete space to accommodate an additional altar for the celebration of the Mass. Due to the Gothic style, thinner and taller walls are used resulting in more stained glass windows. The Basilica has 7 Radiating Chapels. The scenes depicted in the chapel windows are in the pictorial style of the Renaissance as light pours through them freely. The scenes of the Radiating Chapels include depictions of the story of Mary and Joseph, including young Joseph, a young Virgin Mary, and again the Holy Family. We are also introduced to windows depicting the Holy Cross and the story of Jesus’ suffering. Another chapel depicts Our Lady of Victories. (Cavadini & Cunningham, 131)

The Apsidal Chapels are a type of Radiating Chapel located in the apse of the Basilica. The Basilica has 3 Apsidal Chapels. This includes the Relic Chapel focusing on the discovery of famous relics and on the solemn translation of relics to locations suitable for veneration. The Angels Chapel focuses on the 3 archangels, while the Chapel of the Sacred Heart of Jesus (The Lady Chapel) is dedicated to the Virgin Mary and the Sacred Heart of Jesus. (Cavadini & Cunningham, 167)

To further our analysis, it should be mentioned that there is movement occurring in the church. Here, with the pointed arches, the Basilica has a vastness to its space in which we are taken up into this vastness, and processions are to be completed in this space. In this vastness, there are endless spaces to delight in.

As typical with the classical sacramental church, there is a free standing altar and an elongated altar for the Eucharist. The columns work to draw our attention to that which is central.

The array of stained glass windows provide iconic images to those who view them. The icon works to take us to something invisible and leaves us a space to enter into the scene. These icons take one into that time to participate in the Mystery of Salvation, to make it present among us. Here, the stained glass allows one to approach the image, to recognize the past, to see one in relation to the work in the present, and yet to consider anew the future in light of what is seen. As we are connected to the past, what has been done that gives order to today in the present of our lives, the Church, and the world, we are also pointed toward a future that is to come. We enter into worship and are allowed to contemplate the Sacraments, the Scriptures, Salvation, and the Eucharist.

The architecture of the Basilica of the Sacred Heart is truly guided by Theology, as it is linked to truth, beauty, and goodness. Through the decoration and ornamentation of the Basilica, we are truly given a space in which Heaven and Earth come together.

Information in this blog provided by:

· Richard Kieckhefer, Theology in Stone, 21–96.

· Denis R. McNamara, Catholic Church Architecture and the Spirit of the Liturgy, 82–133.

· Nancy Cavadini and Cecilia David Cunningham, Stories in Light: A Guide to the Stained Glass of the Basilica at the University of Notre Dame

· Professor Timothy O’Malley, Lectures on January 21st and 22nd, 2021: “Aesthetic Experience and Theological Space” & “Light and Darkness in History”