Saint Polycarp Church : Guided Tour

You may visit our church with a guide. To do so, please contact us at the following address:

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FIRST PART : THE SANCTUARY

The Redemption consummated on Calvary is perpetuated by the sacrifice on the altar which is the same as that on the cross. The altar is the centre of the structure and the sanctuary is the frame of the altar. In this frame a brilliant procession of prophets who announced the Redeemer, of Evangelists who told his story, of apostles who preached his word to the world, of martyrs and confessors who were witnesses for that word, is laid out. Saint Polycarp, patron saint of this church and protector of the city, is one of the first who proclaimed his faith in the Trinity by bearing witness in the name of Christ, son of God, and in God as the Father and the Holy Spirit. He therefore holds an important place in the decoration of this sanctuary served by the sons of Saint Francis who, bravely at work, also deserve to be honoured. 

1. Side Arcades

On the tympana, above the cornice and as if supporting the entire structure, the prophets of the Old Testament: Ezekiel, Daniel, Isaiah and Jeremiah. Ezekiel is lost in a prophetic vision; Daniel is calm amid the lions which threaten to devour him; Jeremiah sits near a broken column, crying over the misfortunes of his homeland; Isaiah shows the star of Jacob in the future, prophetic figure of the Virgin who will give birth to the Saviour.

2. Pendentives of the Dome 

The Evangelists, Saint John, Saint Luke, Saint Mark and Saint Matthew, each accompanied by his symbolic animal: Saint John and the eagle of sublime teachings, Saint Luke and the ox of sacrifice, Saint Mark and the lion of victory, Saint Matthew and the man of the incarnate Word.

3. Dome

In the twelve compartments, the twelve Apostles. Saint Peter and Saint Paul stand in the place of honour. Above the medallion of each apostle, a cartouche bears his attribute. Saint Peter who is already recognizable by the pallium, symbol of his pre-eminence, has the symbolic keys as his attribute. To his left, Saint Paul and the sword, instrument of his martyrdom. To his right, Saint Andrew and the diagonal cross or saltire on which he was hung. Saint John has the chalice as his attribute from which a reptile is escaping. The staff and scallop shells belong to Saint James the Great; Saint James the Minor is portrayed with the fuller’s club with which he was clobbered; Saint Philip with the T-shaped cross to which he was hung; Saint Bartholomew bears a knife; Saint Matthew a halberd; Saint Simon a saw; Saint Jude an axe and Saint Thomas a try square as he committed to building a palace for an Indian king.

4. Tympana of the Great Lateral Axes Resting on the Cornice :

    4 scenes from the life of Saint Polycarp 

1st Painting –  The Child 

As a child, Saint Polycarp is bought back from slavery by a pious Christian woman, the widow Callisto, from merchants who came from the East.

In the background of the painting, one can see Mount Pagus and one of the doors of the city. Merchants return to their country while Callisto, glad to have accomplished the duty which had been given to her in a mysterious dream, leads the child by the hand.

2nd Painting – The Priest

Saint Polycarp is ordained as a priest by Saint Bucole (Vukolos) by laying of the hands.

3rd Painting – The Bishop

Despite his old age, Saint Polycarp traveled to Rome to consult with the Pope regarding the celebration of the feast of Easter. He venerates the successor of Saint Peter and recognizes him as the head of the universal Church. 

To honour the virtues of Saint Polycarp, the Pope, Saint Anicetus, asks him to celebrate the Holy Mysteries, and attends on his knees at the foot of the altar.

4th Painting

Saint Polycarp, threatened with jail and death, prays before delivering himself to the soldiers who came to arrest him.

The pagans, guided by a young boy whom they have threatened to kill, discover the hiding place of Saint Polycarp. The venerable old man receives his persecutors with joy, commands that food be brought to them and begs them to grant him a few minutes to pray. His fervour is so great that the soldiers themselves were stirred “and saw with regret that this old man, so wise, had to be delivered to death.”  (See Letter from the Church of Smyrna Concerning the Martyrdom of Saint Polycarp)

Retable

In the arcature which supports the niche of Saint Polycarp : 

1. 1. 1. 1. Saint Ignatius of Antioch, his friend and, like him, a disciple of Saint John 
         2. Saint Pothinus, first bishop of Lyon, whom Saint Polycarp sent to Gaul
         3. Saint Irenaeus, successor of Saint Pothinus and disciple of Saint Polycarp.

The Sanctuary Entrance Arch or Triumphal Arch

At the centre, the arms of the Order of St. Francis. On the arch supports, on the right and on the left, appear the saints and the blessed of the Order of the Capuchins who are connected to each other, as if by a divine chain, by the monograms Jesus, Mary, Joseph.

On the pedestals, angels bearing candles, the first Capuchin martyr, and the last who was beatified until this day (1896). On the side of the epistle, Saint Fidelis of Sigmaringen, first martyr of the Propagation of the Faith; on the side of the Gospel, the blessed Diego de Cadiz.

In accordance with the spirit of the Father, humble and small in their triumphs, the children of Saint Francis are here the doormen of the sanctuary and acolytes of the altar.

SECOND PART : THE NAVE

“It is Jesus Christ who is the great thought of the Eternal Father,”said Saint Paul. Jesus Christ is the Redemption.

The main facts which summarize the story of this mystery are presented in this iconographic ensemble from the Incarnation of the Son of God in the womb of the Virgin Mary up to his death on the cross.

This story is completed by the portrayal of saints who were doctors, martyrs and confessors and who, through their works against heretics, the generous shedding of their blood for the faith, the austerity of their life and their virtues have reproduced in themselves the image of Jesus Christ, developed the teaching of the Church regarding the mysteries and proven the truth of Redemption.

But Redemption only finds its explanation in the Trinity.

This is why the figurative painting of this mystery was placed at the head of the ensemble, in the traditional symbolic shape authorized by the Church.

The vault is divided along the width into three areas by two bands adorned with arabesques : a middle area, along the axis, reserved for symbolic representations ; and two lateral areas in the vault supports, dedicated to the historical part. 

Transverse arches, adorned like the bands, divide it lengthwise into four unequal bays.

FIRST BAY: THE TRINITY

I. Middle Area : The Three Divine Persons

The Father and Son are seated next to each other. The Father, portrayed as a youthful old man, with a large forehead and a powerful eye, holds the scepter of royalty. Master of the world he created, he carries it on his knees and covers it with his right hand as a sign of protection. He is dressed in white because he is the plenitude of truth. Supreme pontiff, he carries the pallium adorned with precious stones, symbols of his perfections. 

In accordance with the words of the psalm: “Dixit Dominus Domino meo, sede a dextris meis” (The LORD says to my Lord: Sit at my right hand). Saviour of the world, he holds the cross of Redemption which is here a glorious symbol resplendent with gems and gold, emblems of the sublime virtues that the death of the Son of God bound forever to the instrument of his suffering.

Splendour of the Father, he is also the splendour of truth; this is expressed by the white colour of his robe. But he is at the same time love since he offered himself as a sacrifice: the red mantle represents this love. He casts a gentle glance on the world which he has saved and blesses it. 

Above the cross the Holy Spirit is portrayed as a dove shrouded in red because the Holy Spirit is the fire which enlivens. 

Text : Pater Verbum et Spiritus sanctus et hi tres unum sunt. (I Jn 5,7)

              Ὁ Πατὴρ ὁ Λόγος καὶ τὸ ἃγιον Πνεũμα καὶ οὗτι οἱ τρείς ἒν εἰσὶ. (I. Ἰωάν E. 7.)

1. 1. 1. 2. Lateral Area (side of the Gospel) : A Miracle of Saint Polycarp

Smyrna was going to be engulfed in flames.

The Romans, who then ruled the country, had extended vain efforts to stop the devastating scourge when the proconsul, governor of the city, remembered having heard of an old Christian who could do wondrous things. He sent a centurion to ask him to ward off this evil. 

The painting represents that moment.

On the horizon, one can see the mountain of the Two-Brothers which borders the gulf of Smyrna. The scene takes place in the upper city, on Mount Pagus, while the lower city is in flames. Saint Polycarp, surrounded by Christians who came to implore his help, accepts the request of the governor relayed by the centurion. He is on his knees, and his eyes are raised to heaven, his arms extended in the shape of a cross, he addresses to God his fervent supplications.

Soon the miracle takes place, the fire is extinguished, and Smyrna is saved.

Text : Κατὰ παράκλησις τοῦ ἑκατοντάρχου ὁ ἃγιος Πολύκαρπος τὴν πυρκαϊὰν

            προσευχόμενος καταστέλλει.

                       3.   Lateral Area (side of the epistle) : Martyrdom of Saint Polycarp, One of the First Who Proclaimed His Faith in the Trinity 

Saint Polycarp, having gone up the stake erected in the amphitheatre by the crowd of pagans and Jews, raised his eyes to heaven and, in a sublime prayer, proclaimed his faith in a God Father, Son and Holy Spirit. 

No sooner had he finished his prayer that the executioners set fire to the stake. “But the flames curving like the sail of a vessel inflated by the winds” surrounded the body of the martyr without harming him. Seeing this, the pagans “commanded an executioner to approach him and to drive a dagger in his breast.”

The choice of characters in this painting not only has a historical significance but is also symbolic. The proconsul who commands the executioner to strike the martyr personifies the hatred of the State against the Christian name, it is the official hatred; the executioner, the hatred of the populace, the ignorant and brutal hatred; finally, the Jew who fans the fire personifies the hatred of the people of Israel against the new sons of the victim of Calvary.

Text : Διὸ καὶ περὶ πάντων αἰνῶ σε, εὐλογῶ σε, δοξάζω σε σὺν τῷ αἰωνίῳ καὶ ἐπουρανίῳ Ἰησοῦ Χριστῷ ἀγαπητῷ σου παιδὶ μεθ’ οὗ  καὶ πνέυματι ἁγίῳ ἡ δόξα καὶ νῦν καὶ εἰς τοὺς μέλοντας αἰῴνας. Ἀμήν.

          SECOND BAY : THE INCARNATION

1. 1. 1. 1. Middle Area : The Mother of God

The Virgin Mary sitting on a throne adorned with precious stones carries on her knees the Divine Child whom she presents to the world. An ample white mantle, sewn with lilies and gold stars, emblems of royalty, covers her shoulders and reveals her red robe, symbol of her love for mankind. A light veil, modestly pulled on her forehead, recalls the purity without stain of the Immaculate Virgin. Her right foot rests on a cushion with golden tassels as befits a queen.

The Diving Child stands on the knees of his mother; he holds with one hand the book of the Gospel, with the other he blesses the world that he will redeem. He is clothed in a green robe to signify that he is Life in essence.

Twelve gold stars, forming a circular arc, shine above the group; they symbolize the twelve chief virtues of Mary.

On the right and on the left, angels in adoration and the acronym MR – ϴϒ.

Text : Beatam me dicent omùnes generationes. Lk I, 48

              Μακαρίουσί με πᾶσαι αἱ γενεαί. A. ά. 48

Above and below this panel, in circular medallions, angels personify the chief virtues through which Mary was worthy to be the Mother of God. 

Fides, Humilitas, Puritas, Charitas.

Above the whole ensemble, the resplendent monogram of Mary, on top of which appears the royal crown.

Below, the union of the hearts of Jesus and Mary through which the mystery of Incarnation was accomplished.

1. 1. 1. 2. Lateral Area (side of the Gospel) : The Annunciation

It is the moment of Conception.

The angel announces to Mary that she will conceive and give birth to the Saviour. “The Holy Spirit will come upon you”  he says, pointing to the Holy Spirit who appears in a halo of gold, soaring above a triangle, symbol of the Trinity.

Mary who is in prayer bows before the celestial emissary to signify her perfect abandonment to the will of the Most High. 

Her immaculate purity is represented by the blue colour of her mantle.

The angel Gabriel is barefooted; he is dressed in white and wears a golden belt because he carries a message. He holds a lily which alludes to the promise he made to Mary, that she would keep her virginity. 

Text : Spiritus sanctus superveniet in te. Lk I, 35

              Πνεῦμα ἃγιον ἐπελεύσατε ἐπὶ σέ. Λ. ά. 35.

Additional Features    1.     In the Arcature on the Right:

St. Cyril of Alexandria (died in 444) who presided the Council of Ephesus in which anathema was pronounced against Nestorius and the Divine Maternity was recognized and proclaimed. 

1. 1. 1. 2. 1. 1. 1. 2. In the Arcature on the Left:

St. Anselm of Canterbury, (1033 – 1100), the herald of the Immaculate Conception of which he speaks in his works. 

1. 1. 1. 3. Lateral Area (side of the epistle) : The Nativity of Our Lord

The Divine Child is born; his divine Mother has wrapped him in swaddling clothes and laid him in a manger.

Mary is in adoration before the Saviour to whom she has just given birth, while Joseph, her husband, is in adoration with her, glad but astonished and seeming to say: “How can such great things be accomplished among such small people!”

Above the group an angel soars in a cloud; he holds a phylactery and announces the good news: “Gloria in excelsis Deo.”

Text : Et Verbum caro factum est. Jn, I, 14

            Καὶ ὁ Λόγος σὰρξ ἐγένετο.  Ἰωάν. Ά, 14

 

Additional Features    1.   In the Arcature on the Left:

St. Athanasius, deacon of Alexandria, the hero of the Council of Nicaea (296 – 376). He brought to light the artifices and deceit of Arius who denied the divinity of the Word and consubstantiality. He confounded the heretic who was condemned, and the divinity of Christ was solemnly proclaimed. 

1. 1. 1. 3. 1. 1. 1. 2. In the Arcature on the Right:

St. Leo the Great, (pope 5401 – 461). He presided and led by a powerful letter the Council of Chalcedon which delivered the final blow to the heresy of Eutyches, who had denied the humanity of Christ. 

           

      THIRD BAY: THE REDEMPTION

1. 1. 1. 1. Middle Area : The Saviour

On a throne resplendent with precious stones and gold, Jesus Christ is seated, blessing the men he has saved. His left hand rests on the book of the Gospel adorned with the Chi Rho of Constantine formed by the first two letters of the word ΧΡΙΣΤΟΣ, accompanied by the Alpha and Omega  (“Ego sum Alpha et Omega, principium et finis”). As in the Trinity, he is clothed in white and red, Truth and Charity. He is surrounded by a halo featuring a cross which is the constant attribute of the Son of God.

On the right and on the left, the acronyms Ὁ ΣΩ – ΤΗΡ.

Text : Ego sum via,veritas et vita. Jn. XIV, 6

            Ἐγὼ εἶμι ὁδὸς καὶ ἡ ἀλήθεια  καὶ ἡ ζωή.  Ἰωάν. ιθ. 6

In the circular medallions, four angels dressed in purple, symbol of pain, carry the instruments of the Passion :

• • the cross – Ave crux : tu sola excelsior
  • the crown of thorns : Christi coronam cernite
  • the lance and nails : Clavis forato et lancea
  • the holy face : Necis insignia in sindone

Above the whole ensemble, the Monogram of Jesus IHS.

Below, on the book of the seven seals, the holy victim is represented by the lamb wounded at the heart. His blood flows in the chalice, but he is not vanquished; he stands and holds the triumphant banner of the Resurrection. 

1. 1. 1. 2. Lateral Area (side of the Gospel) : The Institution of the Eucharist and of the  Priesthood

To perpetuate his work in his Church, at the same time as he established the sacrament of the Eucharist, Jesus established the Priesthood, that is priests and bishops. 

The painting represents that solemn moment:

Christ is standing, holding in one hand the chalice. “Do this in memory of me.” he said to the apostles; and, lifting his eyes to heaven, he called on them the blessings of his Father. 

Each apostle, imbued with the greatness of his new state, expresses in a different way the feelings that animate him. Peter, who is on the right of Jesus, hands crossed over his chest, contains the bursts of his heart. On the left of the Saviour, John lifts his eyes towards his master and wants to convey to him the fullness of his love and gratitude. Next to him, Thomas bows humbly, while Simon, his hand on the table, extends the index finger as if making a commitment to be always worthy of his lofty mission. On the other side, Andrew, Peter’s younger brother, listens with eager attention mixed with astonishment. Philip and Bartholomew have bowed down; the other apostles are in the deepest contemplation. Judas alone seems occupied with something else : he is counting on his fingers the expense which has been made, while with his right hand, he grasps the purse of the Society of which he is the treasurer.

Text : Hoc facite in meam commemorationem. Lk, XXII, 19

              Τοῦτο ποιεῖτε εἰς τὴν ἐμὴν ἀνάμνησιν. Λουκ. κβ’, 19

Additional Features    : 1. In the Arcature on the Right :

    St. Irenaeus, bishop of Lyon (120 – 202)

In his work “Against Heresies”, he established the pre-eminence of the Roman church and the dogma of the divine Eucharist in which the body and blood of Christ are offered in sacrifice.

2. In the Arcature on the Left :

    St. Thomas Aquinas (1225 – 1274)

The Angelic Doctor is also the Chanter of the Eucharist. At the request of Pope Urban IV, he composed the admirable Office of the Holy Sacrament with its hymns which are poems unrivaled for their beauty, lucidity and charity.  

3. Lateral Area (side of the epistle) : The Sacrifice of the Cross

When Jesus was crucified, Mary, his divine Mother, Mary, wife of Cleophas, Mary-Magdalene and John, the beloved disciple, were standing at the foot of the cross. Jesus asked for water and was given vinegar. After he had drank from it, he said:  “It is consummated” and lowering his head, he gave up the spirit.  

Pain is represented in diverse ways in this painting by the expression of faces and by attitudes.

The pain of the Mother of God is immense; but it is restrained, silent, resigned through love for mankind. The Virgin stands “Stabat Mater”, hands joined together as a sign of adoration before the Holy Victim who offered himself for the salvation of the world.

Mary Cleophas depicts human pain; she covers her face and lays her head on the shoulder of her sister.

Mary-Magdalene, the repentant sinner, is worn down. The weight of her sins overburdens her; she seems to recognize that she also crucified Jesus. Meanwhile John casts a glance filled with love and hope on his Master, whose ignominious death will be the sign of the glorious Resurrection for those who will follow the divine teachings of which he is one of the recipients.    

Text : Consummatum est. Jn XIX, 30

              Τετέλεσται. Ἰωάν. ηθ’. 30

Additional Features    : 1. In the Arcature on the Right:

            St. Bernard, abbot of Clairvaux (1091 – 1153)

It is with the cross that he roused the Christian world to reclaim the places sanctified by the life and death of the Saviour.

        2. In the Arcature on the Left:

            St. Helena, mother of Constantine, empress of Byzantium.

Under the reign of Constantine the Great, following the appearance of the Cross in the sky, the empress Helena traveled to Jerusalem to destroy the idols that the emperor Hadrian had erected there. Warned in a dream, she looked for the cross that had brought salvation to the world. In the excavations she commanded, three crosses were found. St. Helena’s faith allowed her to discover the cross of Jesus. The three crosses were brought to a sick woman’s home. Upon touching the cross of the Saviour, the woman regained her health. This miracle happened in 326.

 

FOURTH SPAN : THE GLORIFICATION OF ST. FRANCIS OF ASSISI

1. 1. 1. 1. Middle Area : St. Francis in Glory 

The stigmatist of Assisi is in heaven. Two angels place a crown of white roses and red roses on his head which recall the miracle of the Portiuncula. Next to him other angels read, one reads the Rule which he left to his children and the perfect observance of which will lead them, like him, to heavenly beatitude; the other reads the Blessing he gave to Brother Leo to support him in his temptations.

Around the saint and forming an aureole, the cord of the Friars Minor and the rosary symbolize prayer. On the field of the panel, placed as a heading, the three vows : Castitas, Paupertas, Obedientia.

Below the whole ensemble, an angel proclaims with the sound of a horn the glory of the great saint of Assisi.

Text : Communicavit Christi passionibus gaudens et nunc in revelatione gloriae ejus

            gaudet exultans. (Office of St. Francis)

1. 1. 1. 2. Lateral Area (side of the Gospel) : The Stigmata

When the dawn rose on the feast of the Exaltation of the Holy Cross (14 September 1224), Francis was praying on the side of the mountain (Alvernia in Tuscany). Suddenly, he saw coming down from the heights of heaven a seraph with wings of fire of dazzling brightness. The angel flew rapidly very close to him and remained suspended in the air, then the image of Jesus crucified appeared between his wings. Upon seeing it, the soul of Francis was seized with an indescribable stupor. The vision disappeared, but left in his heart a wondrous ardour, and in his body the no less wondrous trace of the divine imprint. Indeed, there appeared at that moment on his limbs the five wounds that he had just worshipped in the vision. (Bonaventure, C. XIII)

Text : Signasti, Domine, Servum tuum Franciscum, signis redemptionis nostrae.

            (Office of St. Francis)

1. 1. 1. 3. Lateral Area (side of the epistle) : The Consolation of St. Francis

Francis traveled to Rieti, near Foligno, to pay his respects to the successor of Peter, Honorius  III (1225). He stayed in the house of a Saracen who had converted. One night, consumed by fever, and unable to sleep, he expressed the wish to hear a little music to comfort his soul. As there were no artists in the house, and the Friars apologized for their ignorance, God saw fit to come to the assistance of his servant himself. An angel appeared holding a viola and, allowing the bow to glide on the instrument, produced such gentle and harmonious sounds that the soul of the saint became as if entranced and his senses as if suspended.  

(Thomas of Celano vita secunda p. III. CXLVI)

Text : Secundum multitudinem dolorem meuorum in corde meo, consolationes tuae

            laetificaverunt animam meam.

In the tympana of the great lateral arcades, under the cornice: the Franciscan Glories.

Like a mysterious chain stretching from the sanctuary’s entrance arch to the last painting of the middle area, the Franciscan glories unfold in the tympana of the arcades, connecting in this way the latest children to join the family, the Capuchins, to the common father, the patriarch Saint Francis. 

Side of the Gospel :  First Medallion : St. Anthony of Padua ( 1195 – 1231)

The great wonder worker who was called the “Ark of the Testament” and the “Hammer of the Heretics” because of his prodigious eloquence and the ardour of his faith, is represented carrying the Child Jesus in his arms. The Child holds the emblematic lily and seems with his movement to offer St Anthony as an example for us to imitate.

Second Medallion: St. Clare of Assisi (1193 – 1253)

A contemporary of St. Francis, she founded the second Franciscan order, the Order of Poor Ladies or Clarisses. She is portrayed carrying the Holy Sacrament in memory of the freeing of Assisi which she achieved by showing the Holy Ciborium to the Saracens who had besieged the city.

Third Medallion : St. Bernardino of Siena (1380 – 1444)

A noble Sienese man who could aspire to all honours, he neglected them to join the Order of Saint Francis. The monogram of Christ which he bears on his chest recalls his great devotion to the name of Jesus and the numerous miracles of conversion he obtained through this devotion. 

Side of the Epistle :       First Medallion: St. Bonaventure (1221 – 1274)

The son of noble and pious parents, he was saved from a dangerous illness by the intercession of St. Francis. He was only four years old when this miracle took place. “O buona ventura”, everyone said, and this became his name as a testimony to the miracle. His writings earned him the title of “Seraphic Doctor”. He reformed the Franciscan Order and was elevated to the highest dignities of the Church. He is portrayed with the cardinal’s red vestment and writing the life of the founder of his Order.

                Second Medallion: St. Colette of Corbie (1380 – 1446)

She brought the Order of Poor Ladies back to its initial fervour and reformed at the same time the first Order of Saint Francis. Her painting recalls the numerous ecstasies with which God honoured this great saint.  

                Third Medallion: St. Louis of Anjou, bishop of Toulouse

                (1274 – 1299)

Son of Charles II of Anjou, count of Provence, king of Naples and of Jerusalem, St. Louis was related by blood to the greatest saints of this period and to the royal families of Europe. Heir to the throne of his father, he renounced the crown in favour of his brother to join the first Order of Saint Francis. As soon as he was promulgated to priesthood, the pope, aware of his brilliant qualities and virtues, named him bishop of Toulouse, despite his young age (he was barely 22 years old). His intelligence, his knowledge and his virtues ensured him the greatest success in his administration. He is portrayed in papal clothing and holding a phylactery in which his usual maxim is written: “My wealth is Christ; He alone suffices me. Any treasure that is not my God is for me nothing but destitution and misery.”

The synthesis of Redemption is completed by the summary of the teaching of the Divine Master, the eight Beatitudes, written in golden letters in the embrasures of the vault’s windows. 

English translation of the explanatory note regarding the mural paintings produced in the sanctuary and in the nave of the French parish church of Saint Polycarp of Smyrna by Raymond-Charles PÉRÉ , 1896.