The Basilica of the Sacred Heart of Jesus

Atlanta, Georgia

As the Basilica of the Sacred Heart of Jesus approached the 125th anniversary of its dedication, the parish undertook an interior restoration and redecoration project guided by a desire to honor its history while preparing the sacred space for future generations. Conrad Schmitt Studios was entrusted with this significant work, bringing thoughtful craftsmanship, liturgical understanding, and artistic vision to the Basilica. 

The interior had evolved incrementally from its construction in 1898 through the mid-20th century, reflecting changing decorative trends of each era. While many elements referenced Romanesque subject matter, the overall painted expression had become more modern in character, obscuring the building’s original architectural intent. Through historical study, and close collaboration with parish leadership, Conrad Schmitt Studios developed a renewed decorative vision, one that respects the Basilica’s past while restoring visual harmony, clarity, and warmth appropriate to its sacred function and status as a Basilica. Much of the new decorative scheme was made to reflect the history of the Basilica, especially that of the 1920s.

The full scope of work addressed nearly every interior surface and system within the church. Extensive plaster restoration was completed throughout, followed by the implementation of a comprehensive new decorative paint scheme designed to unify the space and reinforce its Romanesque character. The project also included a newly conceived sanctuary ceiling mural and triumphal arch, the introduction of new liturgical furnishings within the sanctuary, restoration and enhancement of lighting, updated audio and visual systems, and the installation of new flooring and pews all of which were made by the talented team at Rambusch Lighting Co.

The unified triumphal arch we are greeted by the along with North American Saints Tekekwitha, Damien de Veuster, Mother Theresa of Calcutta, Francis Xavier Cabrini, Peter Chanel, and Gertrude. The lower foundational level of the triumphal arch features SS. Peter and Paul, not only celebrated as cornerstones of the Church, but also as an homage to the original name of the church from 1880 to 1898. The painting style here closely resembles the 1920s historic decoration of the Basilica.

At the heart of the project is the sanctuary, where art and architecture work together to draw the eye upward. The sanctuary ceiling radiates a golden glow evocative of Heaven, reimagining Christ reigning over the Earth with His Sacred Heart, surrounded by angels in adoration. This sanctuary ceiling painting reflects a renewed version of the mural that resided in this space for roughly 65 years. Above, the sanctuary ceiling depicts the descent of the Holy Spirit amid stars and crosses set against a deep blue field, inspired by the renowned mausoleum of Galla Placidia in Ravenna, Italy.

The upper sanctuary walls feature flowering motifs tied to Christ’s Crucifixion: the thistle, recalling the Crown of Thorns; the red anemone, representing Christ’s shed blood and said to have bloomed at Golgotha; and the passionflower, associated with the Passion itself. Between the windows, medallions bearing the Alpha and Omega affirm Christ as the beginning and the end. In the ambulatory behind the tabernacle, a red diaper pattern of crosses references the Sacred Heart of Jesus, echoing decorative traditions present in the Basilica over time. The sanctuary’s architectural clarity was further restored by reestablishing the prominence of the Romanesque arches. The tabernacle now stands centrally within three revealed arches, elevated on a marble pedestal and positioned to create a clear visual relationship with the altar. This thoughtful arrangement reduces visual clutter and reinforces the distinct liturgical roles of the altar, ambo, presidential chair, tabernacle, and processional cross.

Faux stone finishes are executed throughout the sacred space using traditional scagliola and decorative painting techniques by Conrad Schmitt Studios artists. These treatments were selected to reference 1 Peter 2:4–5, which describes the Church as being “built of living stones,” while also reviving the building’s 1920s decorative scheme. Additionally, the use of faux stone is symbolic of existing Romanesque churches.

The marble altar itself serves as the focal point of the sanctuary, firmly anchored to the floor and designed to harmonize with the surrounding decorative palette as well as the Mary and Joseph shrines. Its materiality and placement emphasize its central role in the celebration of the Eucharist.

Through this comprehensive restoration and redecoration, Conrad Schmitt Studios helped the Basilica of the Sacred Heart of Jesus recapture its original architectural vision while renewing its spiritual and visual vitality.