St. Mary's Church

La Arquidiócesis Primada de México señaló que en el tiempo de Adviento que comienza este domingo 30 de noviembre “causa mucha ilusión adornar la casa, pero la invitación que queremos hacer es darnos tiempo para también adornar el alma”.

León XIV concluyó su viaje internacional a Turquía con una jornada marcada por la oración, la fraternidad y la reafirmación del diálogo ecuménico antes de dirigirse a Beirut, Líbano.

León XIV advirtió que si no se trabaja “en la sanación de la memoria” y en un "acercamiento" entre quienes han sufrido agravios e injusticias, "es difícil avanzar hacia la paz”.

León XIV ha llegado esta tarde a Beirut (Líbano) para iniciar una visita centrada en el llamamiento a la paz y al diálogo en Oriente Medio, tras concluir un intenso viaje por Turquía.

El Papa León XIV dijo que conversó con el presidente turco, Recep Tayyip Erdogan, sobre las guerras en Gaza y Ucrania. Aseguró que coincidieron en puntos clave y que Ankara podría desempeñar un papel importante en los nuevos esfuerzos de paz.

New York City, New York, Nov 30, 2025 / 08:00 am (CNA).

Part of the New York Public Library’s Spencer Collection, the Tickhill Psalter is on view throughout Advent and Christmas at The Morgan Library & Museum in its exhibit “Sing a New Song: The Psalms in Medieval Art and Life.” A full-page Jesse Tree introduces the Psalms in the Tickhill Psalter, a 14th-century illuminated manuscript from the Augustinian Worksop Priory in Nottinghamshire, England.

David appears in the historiated B of Psalm 1, providing a conceptual link to scenes from his life in the Jesse Tree on the facing page. “Beatus vir,” or “Blessed is the man,” the first stanza opens in celebration of the one who delights in God’s law, concluding: “That person is like a tree planted by streams of water, which yields its fruit in season and whose leaf does not wither, — what they do prospers.” 

These words and their historiated B, with its visual link to the facing page, highlight David as key author of the Psalms and their prefiguration of Christ, the good fruit of the Jesse Tree, a theme common to medieval illuminated manuscripts.

The central panel of a 1490 Flemish triptych with scenes from the life of Saint Augustine contextualizes the exhibit. This five-by-five-foot oil on wood painting references Augustine’s use of allegory, essential to his understanding of scripture and interpretation of the psalms as prophecy. One scene captures Augustine’s realization of the Trinity as boundless mystery that dwarfs human understanding, allegorized by a child trying to pour the sea into a hole in the sand. 

In the book accompanying the exhibit, Morgan curator Deirdre Jackson extends the psalms’ significance to this triptych through a reference to a surviving panel housed in Ireland that shows Augustine on his deathbed. It’s a scene described by contemporary bishop Possidius of Calama, who said that Augustine “ordered those psalms of David which are especially penitential to be copied out and, when he was very weak, used to lie in bed, facing the wall where the written sheets were put up, gazing at them and reading them, and copiously and continuously weeping as he read.”

In his book “The Tickhill Psalter and Related Manuscripts,” 20th-century art historian Donald Drew Egbert speculates that the Tickhill Psalter was decorated by highly skilled illuminators working for Augustinian monasteries and patrons of Augustinian houses during a high point of book arts in England.

This high point inspired a trend of books as personalized treasures, best exemplified in this exhibit by St. Thomas More’s prayer book. Containing much of his own writing in the margins, it consists of a Book of Hours and a Psalter and was with him in the Tower of London while he awaited execution. More’s notes during that time show his preoccupation with the psalms of David’s tribulations. Beside Psalm 87:5-10, “a man without help … in the dark places, and in the shadow of death,” More writes, “in severe tribulation and in prison.”

More’s thoughts in distress demonstrate the appeal of David’s story to the human heart, a reality repeatedly expressed throughout the treasures of this exhibit. In the Tickhill Psalter’s Jesse Tree, David is encircled by branches springing from a tree that grows out of his father, Jesse, sprawled in an active sleep, his elbow supporting a hand planted against his head as though dreaming of all that is to come. 

The branches of the tree wind around David and directly overhead to encircle the Virgin and Child, tracing Christ’s lineage through Mary to the House of David. At the top, the branches surround Christ enthroned in majesty, fulfilling the promise of victory over sin and death foreshadowed in the psalms.

David strikes a joyous pose and plays a harp in celebration, and foliage on either side of the main branch wraps around prophets who unfurl scrolls to hint at mysteries about to be foretold in the reading of the psalms.

Beneath the figure of Jesse, two separate depictions of David protecting his sheep from wild animals cast his actions as allegory in the fight against evil, segueing to his likeness in the historiated B, dancing and singing his story into the Psalms to animate their prefiguration of Christ.

Ofrecemos el texto completo del discurso del Papa León XIV durante la Divina Liturgia en la Iglesia Patriarcal de San Jorge, en Estambul.

El Papa León XIV visitó la Catedral Apostólica Armenia de Estambul donde, tras el saludo inicial del Patriarca, pronunció sus palabras de agradecimiento y cercanía con esta Iglesia hermana, en un ambiente de profunda oración.

En su último día en Turquía, el Papa subrayó que la comunión entre las iglesias “no implica absorción ni dominio, sino un intercambio de los dones que nuestras Iglesias han recibido del Espíritu Santo”.

En el primer viaje internacional de su pontificado, el Papa León XIV visita Turquía y Líbano. ACI Prensa reúne aquí las homilías, discursos, saludos y mensajes pronunciados durante este viaje.