Performing Beauty: The Architecture of Holy Hill

Throughout history, the architecture of church buildings has been diverse to say the least. To the untrained eye, interpreting and appreciating church architecture seems over whelming if not impossible. As someone who does not have any architectural education or training, I often find myself standing before a church, seeing its beauty but unable to decipher its style and meaning. However, Richard Kieckhefer’s book Theology in Stone has helped me understand church architecture by providing an excellent explanation of historical developments and meanings behind a church’s architectural style. Most important, to me, is that Theology in Stone has helped me to better interpret and appreciate my favorite church, The Basilica of the National Shrine of Mary, Help of Christians, at Holy Hill in Wisconsin. Or as we Wisconsinites affectionately call it, Holy Hill.
Holy Hill rises out of the woods in southeastern Wisconsin like an island in a sea of trees. When you first gaze upon Holy Hill you are overtaken by the immense size of the Basilica and its spires that lift your eyes toward Heaven. However, the first important step to understanding the architecture of Holy Hill is found in its name, basilica. The term basilica means “royal hall” because they were built from Emperor Constantine’s patronage, but were used for public gathering spaces. (65) As you walk around the twenty-one-acre grounds of the Basilica you find numerous open spaces in which people gather regularly when Mass is not being offered which is reminiscent of the early basilicas.
The architectural Gothic style of Holy Hill is marked by its immense height, stone work and tall spires which calls to mind similar, famous Churches in Europe such as Sainte-Chappelle and The Cathedral of Notre Dame in Paris France. Upon entering the Basilica, your senses are overwhelmed by the beautiful art and stone work and during Mass by the wonderful music and magnificent acoustics. However, if you are like me you are left with questions as to why the altar is the shape it is and why there are multiple altars and what the meaning is behind the large main isle. To understand that, Kieckhefer explains that you need to know the style. In regard to this Basilica, such styling is due to Holy Hill being patterned in the design of a Sacramental Church.
In this this type of design, the immense size of the interior gathering space is meant to accommodate large gatherings, bringing the Body of Christ together to participate in the Sacraments and Liturgy. The large, long main isle is conducive to processions not only of people but also of one’s eyes. (27) As you enter the Basilica your eyes are guided by the stations of the cross and their archways on the sides of the Basilica, the pews and the main isle toward the centering focus of the Church, the altar. This centering focus occupies a prominent position within the Church and serves as a reminder to center your attention and life on Christ and the sacraments. (191) Once at the main altar, your eyes are guided to the high alter and finally upward where your eyes rest upon the crucified Christ.
The altar at Holy Hill is a free-standing table which aligns with the design of the sacramental church. Such an altar reminds us of the last super where Christ and the Apostles shared a meal; the same meal that Christ has not only invited each of us to but has reserved a seat for us at the table because it is the meal that completes Christ’s sacrifice. (231) The altar is also symbolic of Christ’s bloody sacrifice made present in the Eucharist and where life and death come hand to hand. (198) In keeping with the sacramental church design, the Basilica of Holy Hill has multiple altars; the table altar and the high altar. The high altar of the Basilica is the chief altar of the Church and is raised above the table altar because it is symbolic of Christ and reminds all the faithful that Christ is present in the Church.
Now that I have a better understanding of the architecture and design style of Holy Hill, I have the ability to interpret the important symbolic meaning infused in the Basilica’s structure and style. Seeing Holy Hill through this new lens I have come to a deeper appreciation for its beauty and wonder. My only critique, as If I have the qualifications to render any on this magnificent work of art, is that the ceiling is still plain white. I think a painting that incorporates the stars and depicts the heavenly kingdom would provide an added spiritual dimension to the Basilica. In my opinion, this would serve as a moving reminder that within the Basilica, and in the Mass, Christ unites the pilgrim Church on earth with the heavenly Church. When we, the faithful, participate in the Liturgy and the sacraments we do so with The Father, Son and Holy Spirit, the Saints and all the citizens of Heaven.
However, on second thought, maybe that is precisely why the ceiling is not adorned with such artwork. After all, we are the pilgrim church and our work is not complete and will never be complete until the final trumpet sounds. When I look upon the Basilica’s white ceiling, I see a veil that reminds me my work on earth, as a member of Christ’s body, is not done. However, within the gathering space of the Basilica I am reassured that my earthly journey is not a solitary one. The altar, as the Basilica’s centering focus, reminds me of Christ’s sacrifice and that He has redeemed and called me to follow Him. In respond to His call, I am compelled out of love to participate in the Sacraments and the Liturgy with the earthly and heavenly church. In doing so, I like to think that I am helping to paint the ceiling behind the veil and that one day I will see it in the Heavenly Kingdom.