Paris

The unlikely hero of India: St. Francis Xavier  #Catholic A 17th-century Japanese depiction of St. Francis Xavier from the Kobe City Museum collection. / Credit: Public domain Washington, D.C. Newsroom, Dec 3, 2025 / 04:00 am (CNA). How far would you go to serve God? Would you be willing to travel to the ends of the earth, with nothing but the guarantee of hardship, deprivation, and persecution? Dec. 3 is the feast of St. Francis Xavier, the patron saint of missionaries and missions who led an unlikely life of adventure and heroism, full of unexpected twists and turns, taking the faith to the ends of the earth. Born in 1506 to a noble Navarrese-Basque family, Francis grew up in a land wracked with war. Wedged between the growing imperial powers of Castile-Aragon (Spain) and France, Navarre seldom knew peace during Francis’ childhood. As a member of the nobility, Francis was expected to lead a warrior’s life along with his father and brothers. But at the age of 10, his life took its first dramatic and tragic turn. His father died, his homeland kingdom of Navarre was defeated by Spain, his brothers were imprisoned, and his childhood home, the Castle of the House of Javier (Xavier), was almost entirely destroyed. With Francis’ family disgraced and nearly wiped out, his prospects for a bright future looked dim. But God still had incredible plans for young Francis. Hoping to rebuild the family’s legacy, Francis was sent in 1525 to the center of European theology and studies — the University of Paris.There, Francis quickly made a name for himself. Handsome, he also had a keen intellect and was an agile athlete with a particular gift for pole vaulting. The last thing on young Francis’ mind was a life of humble service to God and the Church. However, his life took a second dramatic turn after he met a fellow Basque noble, Ignatius of Loyola. Headstrong and stubborn, Francis was initially repelled by Ignatius’ ideas of radical devotion to God. But Ignatius would remind him of Jesus’ words in the Bible: “For what doth it profit a man, if he gains the whole world and suffers the loss of his own soul?” (Mt 16:26).Inspired by Ignatius’ piety and fervor, Francis finally decided to dedicate his life to the service of God. In 1534, along with Ignatius and five others, Francis took vows of poverty, chastity, and obedience in a chapel at Montmartre in France.Receiving holy orders alongside Ignatius in 1537, Francis had intended to make a pilgrimage to the Holy Land. But war in the region made such a journey impossible. Once again, God was about to unexpectedly and radically alter the course of Francis’ life.Pope Leo III asked the newly-founded Jesuits to send missionaries to the Portuguese colonies in India. Though Francis was originally not supposed to go, one of the Jesuits assigned to the mission fell ill, and Francis volunteered in his place. Through that courageous act of trust, God would use Francis to transform the entire Asian continent.Francis set out for India in 1541 on his 35th birthday. Traveling by sea at this time was extremely dangerous and uncomfortable, and those who dared to do so risked disease with no guarantee of ever successfully arriving at their destination. Francis had to sail all the way around Africa, past the Cape of Good Hope, almost to the very bottom of the globe, just to cross the Indian Ocean and arrive in Goa, a province in India.Upon his arrival in India in 1542, Francis immediately faced countless challenges in bringing the word of God to the people of this new and foreign region. For seven years Francis preached in the streets and public squares, laboring tirelessly across India and the Asian Pacific islands, contending with persecution from warlords and at times even from the Portuguese authorities meant to help him. After converting tens of thousands and planting the seeds of a renewed and lasting Christian Church in India, Francis began to hear stories about an enchanting island nation known as “Japan.” His heart was set ablaze with the desire to bring the Gospel to Japan. After he had ensured the faithful in India would be properly cared for, Francis set sail for the mysterious new land, becoming the first to bring the Christian faith to Japan, on the complete opposite side of the world from his home in Navarre. In Japan, Francis and his companions traveled far and wide, often on foot and with almost no resources. Crisscrossing the nation, he built up a vibrant Christian community more than 6,000 miles from Rome. Francis would then hear of the even more mysterious and closely guarded nation of China and there, too, he decided to bring the word of God. But before he could find a way into China’s heartland, he became ill and died in 1552 while on the Chinese Shangchuan Island. Now considered one of the greatest of all the Church’s missionaries, St. Francis Xavier proved that one life lived in complete trust in God can transform an entire continent and the whole world. This story was first published on Dec. 3, 2022, and has been updated.
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The unlikely hero of India: St. Francis Xavier  #Catholic A 17th-century Japanese depiction of St. Francis Xavier from the Kobe City Museum collection. / Credit: Public domain Washington, D.C. Newsroom, Dec 3, 2025 / 04:00 am (CNA). How far would you go to serve God? Would you be willing to travel to the ends of the earth, with nothing but the guarantee of hardship, deprivation, and persecution? Dec. 3 is the feast of St. Francis Xavier, the patron saint of missionaries and missions who led an unlikely life of adventure and heroism, full of unexpected twists and turns, taking the faith to the ends of the earth. Born in 1506 to a noble Navarrese-Basque family, Francis grew up in a land wracked with war. Wedged between the growing imperial powers of Castile-Aragon (Spain) and France, Navarre seldom knew peace during Francis’ childhood. As a member of the nobility, Francis was expected to lead a warrior’s life along with his father and brothers. But at the age of 10, his life took its first dramatic and tragic turn. His father died, his homeland kingdom of Navarre was defeated by Spain, his brothers were imprisoned, and his childhood home, the Castle of the House of Javier (Xavier), was almost entirely destroyed. With Francis’ family disgraced and nearly wiped out, his prospects for a bright future looked dim. But God still had incredible plans for young Francis. Hoping to rebuild the family’s legacy, Francis was sent in 1525 to the center of European theology and studies — the University of Paris.There, Francis quickly made a name for himself. Handsome, he also had a keen intellect and was an agile athlete with a particular gift for pole vaulting. The last thing on young Francis’ mind was a life of humble service to God and the Church. However, his life took a second dramatic turn after he met a fellow Basque noble, Ignatius of Loyola. Headstrong and stubborn, Francis was initially repelled by Ignatius’ ideas of radical devotion to God. But Ignatius would remind him of Jesus’ words in the Bible: “For what doth it profit a man, if he gains the whole world and suffers the loss of his own soul?” (Mt 16:26).Inspired by Ignatius’ piety and fervor, Francis finally decided to dedicate his life to the service of God. In 1534, along with Ignatius and five others, Francis took vows of poverty, chastity, and obedience in a chapel at Montmartre in France.Receiving holy orders alongside Ignatius in 1537, Francis had intended to make a pilgrimage to the Holy Land. But war in the region made such a journey impossible. Once again, God was about to unexpectedly and radically alter the course of Francis’ life.Pope Leo III asked the newly-founded Jesuits to send missionaries to the Portuguese colonies in India. Though Francis was originally not supposed to go, one of the Jesuits assigned to the mission fell ill, and Francis volunteered in his place. Through that courageous act of trust, God would use Francis to transform the entire Asian continent.Francis set out for India in 1541 on his 35th birthday. Traveling by sea at this time was extremely dangerous and uncomfortable, and those who dared to do so risked disease with no guarantee of ever successfully arriving at their destination. Francis had to sail all the way around Africa, past the Cape of Good Hope, almost to the very bottom of the globe, just to cross the Indian Ocean and arrive in Goa, a province in India.Upon his arrival in India in 1542, Francis immediately faced countless challenges in bringing the word of God to the people of this new and foreign region. For seven years Francis preached in the streets and public squares, laboring tirelessly across India and the Asian Pacific islands, contending with persecution from warlords and at times even from the Portuguese authorities meant to help him. After converting tens of thousands and planting the seeds of a renewed and lasting Christian Church in India, Francis began to hear stories about an enchanting island nation known as “Japan.” His heart was set ablaze with the desire to bring the Gospel to Japan. After he had ensured the faithful in India would be properly cared for, Francis set sail for the mysterious new land, becoming the first to bring the Christian faith to Japan, on the complete opposite side of the world from his home in Navarre. In Japan, Francis and his companions traveled far and wide, often on foot and with almost no resources. Crisscrossing the nation, he built up a vibrant Christian community more than 6,000 miles from Rome. Francis would then hear of the even more mysterious and closely guarded nation of China and there, too, he decided to bring the word of God. But before he could find a way into China’s heartland, he became ill and died in 1552 while on the Chinese Shangchuan Island. Now considered one of the greatest of all the Church’s missionaries, St. Francis Xavier proved that one life lived in complete trust in God can transform an entire continent and the whole world. This story was first published on Dec. 3, 2022, and has been updated.

unitedyam

A 17th-century Japanese depiction of St. Francis Xavier from the Kobe City Museum collection. / Credit: Public domain

Washington, D.C. Newsroom, Dec 3, 2025 / 04:00 am (CNA).

How far would you go to serve God? Would you be willing to travel to the ends of the earth, with nothing but the guarantee of hardship, deprivation, and persecution? 

Dec. 3 is the feast of St. Francis Xavier, the patron saint of missionaries and missions who led an unlikely life of adventure and heroism, full of unexpected twists and turns, taking the faith to the ends of the earth. 

Born in 1506 to a noble Navarrese-Basque family, Francis grew up in a land wracked with war. Wedged between the growing imperial powers of Castile-Aragon (Spain) and France, Navarre seldom knew peace during Francis’ childhood. 

As a member of the nobility, Francis was expected to lead a warrior’s life along with his father and brothers. But at the age of 10, his life took its first dramatic and tragic turn. His father died, his homeland kingdom of Navarre was defeated by Spain, his brothers were imprisoned, and his childhood home, the Castle of the House of Javier (Xavier), was almost entirely destroyed. 

With Francis’ family disgraced and nearly wiped out, his prospects for a bright future looked dim. But God still had incredible plans for young Francis. 

Hoping to rebuild the family’s legacy, Francis was sent in 1525 to the center of European theology and studies — the University of Paris.

There, Francis quickly made a name for himself. Handsome, he also had a keen intellect and was an agile athlete with a particular gift for pole vaulting. The last thing on young Francis’ mind was a life of humble service to God and the Church. However, his life took a second dramatic turn after he met a fellow Basque noble, Ignatius of Loyola.

Headstrong and stubborn, Francis was initially repelled by Ignatius’ ideas of radical devotion to God. But Ignatius would remind him of Jesus’ words in the Bible: “For what doth it profit a man, if he gains the whole world and suffers the loss of his own soul?” (Mt 16:26).

Inspired by Ignatius’ piety and fervor, Francis finally decided to dedicate his life to the service of God. In 1534, along with Ignatius and five others, Francis took vows of poverty, chastity, and obedience in a chapel at Montmartre in France.

Receiving holy orders alongside Ignatius in 1537, Francis had intended to make a pilgrimage to the Holy Land. But war in the region made such a journey impossible. Once again, God was about to unexpectedly and radically alter the course of Francis’ life.

Pope Leo III asked the newly-founded Jesuits to send missionaries to the Portuguese colonies in India. Though Francis was originally not supposed to go, one of the Jesuits assigned to the mission fell ill, and Francis volunteered in his place. Through that courageous act of trust, God would use Francis to transform the entire Asian continent.

Francis set out for India in 1541 on his 35th birthday. Traveling by sea at this time was extremely dangerous and uncomfortable, and those who dared to do so risked disease with no guarantee of ever successfully arriving at their destination. Francis had to sail all the way around Africa, past the Cape of Good Hope, almost to the very bottom of the globe, just to cross the Indian Ocean and arrive in Goa, a province in India.

Upon his arrival in India in 1542, Francis immediately faced countless challenges in bringing the word of God to the people of this new and foreign region. For seven years Francis preached in the streets and public squares, laboring tirelessly across India and the Asian Pacific islands, contending with persecution from warlords and at times even from the Portuguese authorities meant to help him. 

After converting tens of thousands and planting the seeds of a renewed and lasting Christian Church in India, Francis began to hear stories about an enchanting island nation known as “Japan.” His heart was set ablaze with the desire to bring the Gospel to Japan.

After he had ensured the faithful in India would be properly cared for, Francis set sail for the mysterious new land, becoming the first to bring the Christian faith to Japan, on the complete opposite side of the world from his home in Navarre.

In Japan, Francis and his companions traveled far and wide, often on foot and with almost no resources. Crisscrossing the nation, he built up a vibrant Christian community more than 6,000 miles from Rome. 

Francis would then hear of the even more mysterious and closely guarded nation of China and there, too, he decided to bring the word of God. But before he could find a way into China’s heartland, he became ill and died in 1552 while on the Chinese Shangchuan Island. 

Now considered one of the greatest of all the Church’s missionaries, St. Francis Xavier proved that one life lived in complete trust in God can transform an entire continent and the whole world. 

This story was first published on Dec. 3, 2022, and has been updated.

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PHOTOS: Tickhill Psalter’s Jesse Tree shines in Morgan Library’s Advent exhibit #Catholic Death of Uriah; David in Penance, from the Morgan’s famed Farnese Hours, demonstrates the enduring appeal of the penitential Psalms of David as seen in this early Renaissance book of hours. Italy, Rome, 1546. The Morgan Library & Museum, New York, MS M.69, fols, 63v-63r. Photography by Janny Chiu. / Credit: Courtesy of the New York Library 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. Tree of Jesse (Psalm 1), from the Tickhill Psalter, England, Nottinghamshire, Worksop Priory, 1303-14, New York Public Library, Spencer 26. fol. 6v. The Medieval manuscript is on display in Morgan Library’s Advent exhibit. Credit: Courtesy of the Morgan LibraryDavid 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.King David as Psalmist, from Florence, Italy, ca. 1408-10, by Lorenzo Monaco, who was born Piero di Giovanni but took the name Lorenzo Monaco, or Lorenzo the Monk, upon joining the monastery of Santa Maria degli Angeli, where he became a skilled illuminator and translated themes common to illuminated manuscripts into panel paintings, like this tempera on wood with gold ground depicting David seated on a stone bench tuning a psaltery, lips parted, prepared to sing, with a halo backing the crown he wears to signify the divine inspiration of his compositions. The Metropolitan Museum of Art, New York, 65.14.4. November 2025. Credit: Courtesy of the Metropolitan Museum of Art, New YorkProphets stand in architectural niches on either side of the Tickhill Psalter’s Jesse Tree, heralding the Psalms as prophecy. Credit: Courtesy of the New York LibraryThe 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. Scenes from the life of St. Augustine of Hippo, 1490, Bruges, Belgium, by the unnamed master of St. Augustine, amplifies the Church’s leading theologian on the allegorical interpretation of Psalms. At center, his installation as bishop of Hippo highlights his teaching authority, flanked by scenes of ordination and preaching on the left. On the right, he engages in scholarly discourse and converses with a child trying to pour the sea into a hole in the sand, illustrating the importance of allegory in Augustinian thought. Credit: Courtesy of the New York Public LibraryLate 12th-century book comprised of Augustine’s Gradual Psalms and his Enchiridion (Greek for “handbook”). The well-worn and annotated pages reflect the proliferation of Augustinian influence on interpretation of Scripture. Spain, Santa Maria de Benevivere, near Palencia. Free Library of Philadelphia, Lewis E22, fols. 68v-69r. Credit: Courtesy of the New York Public LibraryIn 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.”Death of Uriah; David in Penance, from the Morgan’s famed Farnese Hours, demonstrates the enduring appeal of the penitential Psalms of David as seen in this early Renaissance book of hours. Italy, Rome, 1546. The Morgan Library & Museum, New York, MS M.69, fols, 63v-63r. Photography by Janny Chiu. Credit: Courtesy of the New York Public LibraryScenes from the Life of David, depicting the story of David and Goliath, exemplifies the significance attached to the figure of David in medieval illuminated manuscripts. Winchester Bible, England, Winchester, ca. 1160-80. The Morgan Library & Museum, New York, MS M.619v. Photography by Graham S. Haber. Credit: Courtesy of the New York LibraryIn 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.St. Thomas More, “in tribulation vehementi et in carcere” (annotation), from the Prayer Book of Thomas More, France, Paris, 1522 (Psalter) and 1530 (Book of Hours), Beinecke Rare Book & Manuscript Library, Yale University, New Haven, MS Vault More, fol. 68v (Psalter section). Credit: Courtesy of the New York LibraryThis 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.”The Prayer Book of Thomas More is backed by a wall-sized image of Hans Holbein’s “Sir Thomas More,” positioned to look like More is gazing intently across the gallery at an image of David from the Crusader Bible. Engelhard Gallery, Photography by Janny Chiu, October 2025. Credit: Courtesy of the New York LibraryMore’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. A crop of the enter of Tickhill Psalter showing the Virgin and Child and the figure of David playing a harp. Credit: Courtesy of the New York LibraryThe 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.
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PHOTOS: Tickhill Psalter’s Jesse Tree shines in Morgan Library’s Advent exhibit #Catholic Death of Uriah; David in Penance, from the Morgan’s famed Farnese Hours, demonstrates the enduring appeal of the penitential Psalms of David as seen in this early Renaissance book of hours. Italy, Rome, 1546. The Morgan Library & Museum, New York, MS M.69, fols, 63v-63r. Photography by Janny Chiu. / Credit: Courtesy of the New York Library 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. Tree of Jesse (Psalm 1), from the Tickhill Psalter, England, Nottinghamshire, Worksop Priory, 1303-14, New York Public Library, Spencer 26. fol. 6v. The Medieval manuscript is on display in Morgan Library’s Advent exhibit. Credit: Courtesy of the Morgan LibraryDavid 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.King David as Psalmist, from Florence, Italy, ca. 1408-10, by Lorenzo Monaco, who was born Piero di Giovanni but took the name Lorenzo Monaco, or Lorenzo the Monk, upon joining the monastery of Santa Maria degli Angeli, where he became a skilled illuminator and translated themes common to illuminated manuscripts into panel paintings, like this tempera on wood with gold ground depicting David seated on a stone bench tuning a psaltery, lips parted, prepared to sing, with a halo backing the crown he wears to signify the divine inspiration of his compositions. The Metropolitan Museum of Art, New York, 65.14.4. November 2025. Credit: Courtesy of the Metropolitan Museum of Art, New YorkProphets stand in architectural niches on either side of the Tickhill Psalter’s Jesse Tree, heralding the Psalms as prophecy. Credit: Courtesy of the New York LibraryThe 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. Scenes from the life of St. Augustine of Hippo, 1490, Bruges, Belgium, by the unnamed master of St. Augustine, amplifies the Church’s leading theologian on the allegorical interpretation of Psalms. At center, his installation as bishop of Hippo highlights his teaching authority, flanked by scenes of ordination and preaching on the left. On the right, he engages in scholarly discourse and converses with a child trying to pour the sea into a hole in the sand, illustrating the importance of allegory in Augustinian thought. Credit: Courtesy of the New York Public LibraryLate 12th-century book comprised of Augustine’s Gradual Psalms and his Enchiridion (Greek for “handbook”). The well-worn and annotated pages reflect the proliferation of Augustinian influence on interpretation of Scripture. Spain, Santa Maria de Benevivere, near Palencia. Free Library of Philadelphia, Lewis E22, fols. 68v-69r. Credit: Courtesy of the New York Public LibraryIn 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.”Death of Uriah; David in Penance, from the Morgan’s famed Farnese Hours, demonstrates the enduring appeal of the penitential Psalms of David as seen in this early Renaissance book of hours. Italy, Rome, 1546. The Morgan Library & Museum, New York, MS M.69, fols, 63v-63r. Photography by Janny Chiu. Credit: Courtesy of the New York Public LibraryScenes from the Life of David, depicting the story of David and Goliath, exemplifies the significance attached to the figure of David in medieval illuminated manuscripts. Winchester Bible, England, Winchester, ca. 1160-80. The Morgan Library & Museum, New York, MS M.619v. Photography by Graham S. Haber. Credit: Courtesy of the New York LibraryIn 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.St. Thomas More, “in tribulation vehementi et in carcere” (annotation), from the Prayer Book of Thomas More, France, Paris, 1522 (Psalter) and 1530 (Book of Hours), Beinecke Rare Book & Manuscript Library, Yale University, New Haven, MS Vault More, fol. 68v (Psalter section). Credit: Courtesy of the New York LibraryThis 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.”The Prayer Book of Thomas More is backed by a wall-sized image of Hans Holbein’s “Sir Thomas More,” positioned to look like More is gazing intently across the gallery at an image of David from the Crusader Bible. Engelhard Gallery, Photography by Janny Chiu, October 2025. Credit: Courtesy of the New York LibraryMore’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. A crop of the enter of Tickhill Psalter showing the Virgin and Child and the figure of David playing a harp. Credit: Courtesy of the New York LibraryThe 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.

unitedyam

Death of Uriah; David in Penance, from the Morgan’s famed Farnese Hours, demonstrates the enduring appeal of the penitential Psalms of David as seen in this early Renaissance book of hours. Italy, Rome, 1546. The Morgan Library & Museum, New York, MS M.69, fols, 63v-63r. Photography by Janny Chiu. / Credit: Courtesy of the New York Library

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.

Tree of Jesse (Psalm 1), from the Tickhill Psalter, England, Nottinghamshire, Worksop Priory, 1303-14, New York Public Library, Spencer 26. fol. 6v. The Medieval manuscript is on display in Morgan Library’s Advent exhibit. Credit: Courtesy of the Morgan Library
Tree of Jesse (Psalm 1), from the Tickhill Psalter, England, Nottinghamshire, Worksop Priory, 1303-14, New York Public Library, Spencer 26. fol. 6v. The Medieval manuscript is on display in Morgan Library’s Advent exhibit. Credit: Courtesy of the Morgan Library

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.

King David as Psalmist, from Florence, Italy, ca. 1408-10, by Lorenzo Monaco, who was born Piero di Giovanni but took the name Lorenzo Monaco, or Lorenzo the Monk, upon joining the monastery of Santa Maria degli Angeli, where he became a skilled illuminator and translated themes common to illuminated manuscripts into panel paintings, like this tempera on wood with gold ground depicting David seated on a stone bench tuning a psaltery, lips parted, prepared to sing, with a halo backing the crown he wears to signify the divine inspiration of his compositions. The Metropolitan Museum of Art, New York, 65.14.4. November 2025. Credit: Courtesy of the Metropolitan Museum of Art, New York
King David as Psalmist, from Florence, Italy, ca. 1408-10, by Lorenzo Monaco, who was born Piero di Giovanni but took the name Lorenzo Monaco, or Lorenzo the Monk, upon joining the monastery of Santa Maria degli Angeli, where he became a skilled illuminator and translated themes common to illuminated manuscripts into panel paintings, like this tempera on wood with gold ground depicting David seated on a stone bench tuning a psaltery, lips parted, prepared to sing, with a halo backing the crown he wears to signify the divine inspiration of his compositions. The Metropolitan Museum of Art, New York, 65.14.4. November 2025. Credit: Courtesy of the Metropolitan Museum of Art, New York
Prophets stand in architectural niches on either side of the Tickhill Psalter’s Jesse Tree, heralding the Psalms as prophecy. Credit: Courtesy of the New York Library
Prophets stand in architectural niches on either side of the Tickhill Psalter’s Jesse Tree, heralding the Psalms as prophecy. Credit: Courtesy of the New York Library

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. 

Scenes from the life of St. Augustine of Hippo, 1490, Bruges, Belgium, by the unnamed master of St. Augustine, amplifies the Church’s leading theologian on the allegorical interpretation of Psalms. At center, his installation as bishop of Hippo highlights his teaching authority, flanked by scenes of ordination and preaching on the left. On the right, he engages in scholarly discourse and converses with a child trying to pour the sea into a hole in the sand, illustrating the importance of allegory in Augustinian thought. Credit: Courtesy of the New York Public Library
Scenes from the life of St. Augustine of Hippo, 1490, Bruges, Belgium, by the unnamed master of St. Augustine, amplifies the Church’s leading theologian on the allegorical interpretation of Psalms. At center, his installation as bishop of Hippo highlights his teaching authority, flanked by scenes of ordination and preaching on the left. On the right, he engages in scholarly discourse and converses with a child trying to pour the sea into a hole in the sand, illustrating the importance of allegory in Augustinian thought. Credit: Courtesy of the New York Public Library
Late 12th-century book comprised of Augustine’s Gradual Psalms and his Enchiridion (Greek for “handbook”). The well-worn and annotated pages reflect the proliferation of Augustinian influence on interpretation of Scripture. Spain, Santa Maria de Benevivere, near Palencia. Free Library of Philadelphia, Lewis E22, fols. 68v-69r. Credit: Courtesy of the New York Public Library
Late 12th-century book comprised of Augustine’s Gradual Psalms and his Enchiridion (Greek for “handbook”). The well-worn and annotated pages reflect the proliferation of Augustinian influence on interpretation of Scripture. Spain, Santa Maria de Benevivere, near Palencia. Free Library of Philadelphia, Lewis E22, fols. 68v-69r. Credit: Courtesy of the New York Public Library

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.”

Death of Uriah; David in Penance, from the Morgan’s famed Farnese Hours, demonstrates the enduring appeal of the penitential Psalms of David as seen in this early Renaissance book of hours. Italy, Rome, 1546. The Morgan Library & Museum, New York, MS M.69, fols, 63v-63r. Photography by Janny Chiu. Credit: Courtesy of the New York Public Library
Death of Uriah; David in Penance, from the Morgan’s famed Farnese Hours, demonstrates the enduring appeal of the penitential Psalms of David as seen in this early Renaissance book of hours. Italy, Rome, 1546. The Morgan Library & Museum, New York, MS M.69, fols, 63v-63r. Photography by Janny Chiu. Credit: Courtesy of the New York Public Library
Scenes from the Life of David, depicting the story of David and Goliath, exemplifies the significance attached to the figure of David in medieval illuminated manuscripts. Winchester Bible, England, Winchester, ca. 1160-80. The Morgan Library & Museum, New York, MS M.619v. Photography by Graham S. Haber. Credit: Courtesy of the New York Library
Scenes from the Life of David, depicting the story of David and Goliath, exemplifies the significance attached to the figure of David in medieval illuminated manuscripts. Winchester Bible, England, Winchester, ca. 1160-80. The Morgan Library & Museum, New York, MS M.619v. Photography by Graham S. Haber. Credit: Courtesy of the New York Library

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.

St. Thomas More, “in tribulation vehementi et in carcere” (annotation), from the Prayer Book of Thomas More, France, Paris, 1522 (Psalter) and 1530 (Book of Hours), Beinecke Rare Book & Manuscript Library, Yale University, New Haven, MS Vault More, fol. 68v (Psalter section). Credit: Courtesy of the New York Library
St. Thomas More, “in tribulation vehementi et in carcere” (annotation), from the Prayer Book of Thomas More, France, Paris, 1522 (Psalter) and 1530 (Book of Hours), Beinecke Rare Book & Manuscript Library, Yale University, New Haven, MS Vault More, fol. 68v (Psalter section). Credit: Courtesy of the New York Library

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.”

The Prayer Book of Thomas More is backed by a wall-sized image of Hans Holbein’s "Sir Thomas More," positioned to look like More is gazing intently across the gallery at an image of David from the Crusader Bible. Engelhard Gallery, Photography by Janny Chiu, October 2025. Credit: Courtesy of the New York Library
The Prayer Book of Thomas More is backed by a wall-sized image of Hans Holbein’s “Sir Thomas More,” positioned to look like More is gazing intently across the gallery at an image of David from the Crusader Bible. Engelhard Gallery, Photography by Janny Chiu, October 2025. Credit: Courtesy of the New York Library

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. 

A crop of the enter of Tickhill Psalter showing the Virgin and Child and the figure of David playing a harp. Credit: Courtesy of the New York Library
A crop of the enter of Tickhill Psalter showing the Virgin and Child and the figure of David playing a harp. Credit: Courtesy of the New York Library

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.

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Picture of the day Basilica, Xavier, Navarre, Spain. The basilica belongs to the ensemble of the Castle of Xavier, built in the 10th century, although the basilica was not built until end of the 19th and beginning of the 20th century. Of eclectic style, the interior has a unique neogothic nave built with grey stone and white marble. The stained glass is a work of painter Marcelino Santamaría from Burgos. The main altar is an artistic decorative work, carved in stone inlaid with mosaics, bronzes and enamels by the Biais house in Paris. The tabernacle is located on a high relief that represents San Francisco baptizing and preaching. #ImageOfTheDay
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Picture of the day Basilica, Xavier, Navarre, Spain. The basilica belongs to the ensemble of the Castle of Xavier, built in the 10th century, although the basilica was not built until end of the 19th and beginning of the 20th century. Of eclectic style, the interior has a unique neogothic nave built with grey stone and white marble. The stained glass is a work of painter Marcelino Santamaría from Burgos. The main altar is an artistic decorative work, carved in stone inlaid with mosaics, bronzes and enamels by the Biais house in Paris. The tabernacle is located on a high relief that represents San Francisco baptizing and preaching. #ImageOfTheDay

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Picture of the day
Basilica, Xavier, Navarre, Spain. The basilica belongs to the ensemble of the Castle of Xavier, built in the 10th century, although the basilica was not built until end of the 19th and beginning of the 20th century. Of eclectic style, the interior has a unique neogothic nave built with grey stone and white marble. The stained glass is a work of painter Marcelino Santamaría from Burgos. The main altar is an artistic decorative work, carved in stone inlaid with mosaics, bronzes and enamels by the Biais house in Paris. The tabernacle is located on a high relief that represents San Francisco baptizing and preaching.
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U.S. bishops urge world leaders to address climate change at upcoming conference #Catholic null / Credit: Harvepino/Shutterstock Washington, D.C. Newsroom, Nov 4, 2025 / 17:47 pm (CNA). U.S. bishops and other Catholic leaders are offering “prayers of support and solidarity” for world leaders who will discuss climate change and other environmental matters at an upcoming conference.The 30th annual United Nations Climate Change Conference (COP30) is scheduled for Nov. 10–21 in Belém, Brazil. World leaders, scientists, and representatives from civil society will discuss ways to implement solutions to combat climate change and form new national action plans. Archbishop Borys Gudziak, chair of the United States Conference of Catholic Bishops’ (USCCB) Committee on Domestic Justice and Human Development; Bishop A. Elias Zaidan, chair of the Committee on International Justice and Peace; and Sean Callahan, CEO of Catholic Relief Services (CRS), are calling for “urgent, courageous action to protect God’s creation and people.” “This year’s COP30 convenes while the Catholic Church celebrates the Jubilee Year of Hope,” the leaders said in a Nov. 4 statement. It is “a sacred opportunity to restore relationships and renew creation at a time when the gift of life is under grave threat.”“Pope Leo XIV called for the participants of COP30 to ‘listen to the cry of the Earth and the cry of the poor, families, Indigenous peoples, involuntary migrants and believers throughout the world,’” the leaders said.“Climate change, biodiversity loss, and environmental degradation are devastating communities already burdened by poverty and exclusion. Farming and fishing families confront threats to their livelihoods; Indigenous peoples face destruction of their ancestral lands; children’s health, safety, and futures are at risk,” the statement said.“A decade ago, in Laudato Si’, Pope Francis reminded us that the climate is a common good, belonging to all and meant for all, and that intergenerational solidarity is not optional,” the statement said. “Failing to steward God’s creation ignores our responsibility as one human family.”The leaders are calling on world leaders to act “urgently” to implement the Paris Agreement, a 2015 international treaty to limit global warming that “protects God’s creation and people.”The leaders asked that countries and civil society organizations recommit to implementation that fosters economic opportunities, commits to efforts that reduce climate warming emissions, and pledges loss and damage financing that guarantees priority and direct access to vulnerable communities. They also asked that they ensure a just transition to a sustainable economy centered on workers, communities, and creation and make financing for climate solutions timely and transparent while also upholding human dignity.“As all of us are impacted, so must we all be responsible for addressing this global challenge,” the leaders said. “Together, these actions can work towards integral ecology and ‘give priority to the poor and marginalized in the process.’”
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U.S. bishops urge world leaders to address climate change at upcoming conference #Catholic null / Credit: Harvepino/Shutterstock Washington, D.C. Newsroom, Nov 4, 2025 / 17:47 pm (CNA). U.S. bishops and other Catholic leaders are offering “prayers of support and solidarity” for world leaders who will discuss climate change and other environmental matters at an upcoming conference.The 30th annual United Nations Climate Change Conference (COP30) is scheduled for Nov. 10–21 in Belém, Brazil. World leaders, scientists, and representatives from civil society will discuss ways to implement solutions to combat climate change and form new national action plans. Archbishop Borys Gudziak, chair of the United States Conference of Catholic Bishops’ (USCCB) Committee on Domestic Justice and Human Development; Bishop A. Elias Zaidan, chair of the Committee on International Justice and Peace; and Sean Callahan, CEO of Catholic Relief Services (CRS), are calling for “urgent, courageous action to protect God’s creation and people.” “This year’s COP30 convenes while the Catholic Church celebrates the Jubilee Year of Hope,” the leaders said in a Nov. 4 statement. It is “a sacred opportunity to restore relationships and renew creation at a time when the gift of life is under grave threat.”“Pope Leo XIV called for the participants of COP30 to ‘listen to the cry of the Earth and the cry of the poor, families, Indigenous peoples, involuntary migrants and believers throughout the world,’” the leaders said.“Climate change, biodiversity loss, and environmental degradation are devastating communities already burdened by poverty and exclusion. Farming and fishing families confront threats to their livelihoods; Indigenous peoples face destruction of their ancestral lands; children’s health, safety, and futures are at risk,” the statement said.“A decade ago, in Laudato Si’, Pope Francis reminded us that the climate is a common good, belonging to all and meant for all, and that intergenerational solidarity is not optional,” the statement said. “Failing to steward God’s creation ignores our responsibility as one human family.”The leaders are calling on world leaders to act “urgently” to implement the Paris Agreement, a 2015 international treaty to limit global warming that “protects God’s creation and people.”The leaders asked that countries and civil society organizations recommit to implementation that fosters economic opportunities, commits to efforts that reduce climate warming emissions, and pledges loss and damage financing that guarantees priority and direct access to vulnerable communities. They also asked that they ensure a just transition to a sustainable economy centered on workers, communities, and creation and make financing for climate solutions timely and transparent while also upholding human dignity.“As all of us are impacted, so must we all be responsible for addressing this global challenge,” the leaders said. “Together, these actions can work towards integral ecology and ‘give priority to the poor and marginalized in the process.’”

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null / Credit: Harvepino/Shutterstock

Washington, D.C. Newsroom, Nov 4, 2025 / 17:47 pm (CNA).

U.S. bishops and other Catholic leaders are offering “prayers of support and solidarity” for world leaders who will discuss climate change and other environmental matters at an upcoming conference.

The 30th annual United Nations Climate Change Conference (COP30) is scheduled for Nov. 10–21 in Belém, Brazil. World leaders, scientists, and representatives from civil society will discuss ways to implement solutions to combat climate change and form new national action plans. 

Archbishop Borys Gudziak, chair of the United States Conference of Catholic Bishops’ (USCCB) Committee on Domestic Justice and Human Development; Bishop A. Elias Zaidan, chair of the Committee on International Justice and Peace; and Sean Callahan, CEO of Catholic Relief Services (CRS), are calling for “urgent, courageous action to protect God’s creation and people.” 

“This year’s COP30 convenes while the Catholic Church celebrates the Jubilee Year of Hope,” the leaders said in a Nov. 4 statement. It is “a sacred opportunity to restore relationships and renew creation at a time when the gift of life is under grave threat.”

“Pope Leo XIV called for the participants of COP30 to ‘listen to the cry of the Earth and the cry of the poor, families, Indigenous peoples, involuntary migrants and believers throughout the world,’” the leaders said.

“Climate change, biodiversity loss, and environmental degradation are devastating communities already burdened by poverty and exclusion. Farming and fishing families confront threats to their livelihoods; Indigenous peoples face destruction of their ancestral lands; children’s health, safety, and futures are at risk,” the statement said.

“A decade ago, in Laudato Si’, Pope Francis reminded us that the climate is a common good, belonging to all and meant for all, and that intergenerational solidarity is not optional,” the statement said. “Failing to steward God’s creation ignores our responsibility as one human family.”

The leaders are calling on world leaders to act “urgently” to implement the Paris Agreement, a 2015 international treaty to limit global warming that “protects God’s creation and people.”

The leaders asked that countries and civil society organizations recommit to implementation that fosters economic opportunities, commits to efforts that reduce climate warming emissions, and pledges loss and damage financing that guarantees priority and direct access to vulnerable communities. 

They also asked that they ensure a just transition to a sustainable economy centered on workers, communities, and creation and make financing for climate solutions timely and transparent while also upholding human dignity.

“As all of us are impacted, so must we all be responsible for addressing this global challenge,” the leaders said. “Together, these actions can work towards integral ecology and ‘give priority to the poor and marginalized in the process.’”

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Picture of the day Illuminated manuscript of the Horae ad usum Parisiensem (Book of hours for Parisians), or “Book of Hours of Charles VIII” King of France (1468 – 1498). The folio shows Saint Denis, first bishop and patron of Paris, walking with his head in his hands after his execution. Today is the feast day of Saint Denis. #ImageOfTheDay
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Picture of the day Illuminated manuscript of the Horae ad usum Parisiensem (Book of hours for Parisians), or “Book of Hours of Charles VIII” King of France (1468 – 1498). The folio shows Saint Denis, first bishop and patron of Paris, walking with his head in his hands after his execution. Today is the feast day of Saint Denis. #ImageOfTheDay

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Picture of the day
Illuminated manuscript of the Horae ad usum Parisiensem (Book of hours for Parisians), or “Book of Hours of Charles VIII” King of France (1468 – 1498). The folio shows Saint Denis, first bishop and patron of Paris, walking with his head in his hands after his execution. Today is the feast day of Saint Denis.
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Picture of the day A cavalryman of the French Republican Guard during the Bastille Day military parade. This regiment is responsible for special security duties in Paris (including guarding important public buildings) and for providing guards of honour at official ceremonies. #ImageOfTheDay
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Picture of the day A cavalryman of the French Republican Guard during the Bastille Day military parade. This regiment is responsible for special security duties in Paris (including guarding important public buildings) and for providing guards of honour at official ceremonies. #ImageOfTheDay

unitedyam
Picture of the day
A cavalryman of the French Republican Guard during the Bastille Day military parade. This regiment is responsible for special security duties in Paris (including guarding important public buildings) and for providing guards of honour at official ceremonies.
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Picture of the day Art installation “Himmelsleiter” (Billi Thanner) on the tower of St. Lambert’s Church in Münster, North Rhine-Westphalia, GermanyThe artwork came from St. Stephen’s Cathedral in Vienna to St. Lambert’s Church in Münster in September 2022. It remained there until March 2024 and has been on display at Saint-Eustache Church in Paris since May 2024. #ImageOfTheDay
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Picture of the day Art installation “Himmelsleiter” (Billi Thanner) on the tower of St. Lambert’s Church in Münster, North Rhine-Westphalia, GermanyThe artwork came from St. Stephen’s Cathedral in Vienna to St. Lambert’s Church in Münster in September 2022. It remained there until March 2024 and has been on display at Saint-Eustache Church in Paris since May 2024. #ImageOfTheDay

unitedyam
Picture of the day
Art installation “Himmelsleiter” (Billi Thanner) on the tower of St. Lambert’s Church in Münster, North Rhine-Westphalia, Germany
The artwork came from St. Stephen’s Cathedral in Vienna to St. Lambert’s Church in Münster in September 2022. It remained there until March 2024 and has been on display at Saint-Eustache Church in Paris since May 2024.
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