Sea

Picture of the day Short-nosed unicornfish (Naso brevirostris), Red Sea, Egypt. This species has a maximum published total length of 60 centimetres (24 in). It occurs in the Indian and western Pacific Oceans. Adults feed mainly on gelatinous zooplankton, while juveniles mainly feed on benthic algae. The switch from grazing to preying on gelatinous zooplankton coincides with the development of the bony protuberance. #ImageOfTheDay
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Picture of the day Short-nosed unicornfish (Naso brevirostris), Red Sea, Egypt. This species has a maximum published total length of 60 centimetres (24 in). It occurs in the Indian and western Pacific Oceans. Adults feed mainly on gelatinous zooplankton, while juveniles mainly feed on benthic algae. The switch from grazing to preying on gelatinous zooplankton coincides with the development of the bony protuberance. #ImageOfTheDay

unitedyam
Picture of the day
Short-nosed unicornfish (Naso brevirostris), Red Sea, Egypt. This species has a maximum published total length of 60 centimetres (24 in). It occurs in the Indian and western Pacific Oceans. Adults feed mainly on gelatinous zooplankton, while juveniles mainly feed on benthic algae. The switch from grazing to preying on gelatinous zooplankton coincides with the development of the bony protuberance.
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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.
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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 Orbicular (round body) batfish (Platax orbicularis), Red Sea, Egypt. It belongs to the family Ephippidae, the spadefishes and batfishes. This species is found in the Indo-Pacific but has been recorded outside its native range in the western Atlantic Ocean. The adult can reach a total length of 40 centimetres (16 in). #ImageOfTheDay
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Picture of the day Orbicular (round body) batfish (Platax orbicularis), Red Sea, Egypt. It belongs to the family Ephippidae, the spadefishes and batfishes. This species is found in the Indo-Pacific but has been recorded outside its native range in the western Atlantic Ocean. The adult can reach a total length of 40 centimetres (16 in). #ImageOfTheDay

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Picture of the day
Orbicular (round body) batfish (Platax orbicularis), Red Sea, Egypt. It belongs to the family Ephippidae, the spadefishes and batfishes. This species is found in the Indo-Pacific but has been recorded outside its native range in the western Atlantic Ocean. The adult can reach a total length of 40 centimetres (16 in).
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Picture of the day The Isaiah Scroll is the best preserved of the seven Dead Sea Scrolls that were first discovered by Bedouin shepherds from Qumran. The Dead Sea Scrolls were first made available to the public on this date in 1991. #ImageOfTheDay
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Picture of the day The Isaiah Scroll is the best preserved of the seven Dead Sea Scrolls that were first discovered by Bedouin shepherds from Qumran. The Dead Sea Scrolls were first made available to the public on this date in 1991. #ImageOfTheDay

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Picture of the day
The Isaiah Scroll is the best preserved of the seven Dead Sea Scrolls that were first discovered by Bedouin shepherds from Qumran. The Dead Sea Scrolls were first made available to the public on this date in 1991.
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Picture of the day Coral (Favia favus), Ras Muhammad National Park, Red Sea, Egypt. This species of stony corals is massive and forms thickly encrusting dome-shaped colonial corals. There is a great diversity of form even among the same species. The corallites project slightly above the surface of the coral and each has its own wall. The septa and costae linked to the corallite wall are well developed and covered by fine teeth. The polyps only extend and feed during the night. Each one has a small number of tapering tentacles which often have a darker coloured tip; these are called stinger tentacles, or sweeper tentacles. They use these to sweep the water to see if any other coral is in its area; if so, then they begin to sting the other coral. This is commonly known as coral war. Each coral is trying to make sure it has enough room around it so it can continue to grow and have more surface area for its offspring. #ImageOfTheDay
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Picture of the day Coral (Favia favus), Ras Muhammad National Park, Red Sea, Egypt. This species of stony corals is massive and forms thickly encrusting dome-shaped colonial corals. There is a great diversity of form even among the same species. The corallites project slightly above the surface of the coral and each has its own wall. The septa and costae linked to the corallite wall are well developed and covered by fine teeth. The polyps only extend and feed during the night. Each one has a small number of tapering tentacles which often have a darker coloured tip; these are called stinger tentacles, or sweeper tentacles. They use these to sweep the water to see if any other coral is in its area; if so, then they begin to sting the other coral. This is commonly known as coral war. Each coral is trying to make sure it has enough room around it so it can continue to grow and have more surface area for its offspring. #ImageOfTheDay

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Picture of the day
Coral (Favia favus), Ras Muhammad National Park, Red Sea, Egypt. This species of stony corals is massive and forms thickly encrusting dome-shaped colonial corals. There is a great diversity of form even among the same species. The corallites project slightly above the surface of the coral and each has its own wall. The septa and costae linked to the corallite wall are well developed and covered by fine teeth. The polyps only extend and feed during the night. Each one has a small number of tapering tentacles which often have a darker coloured tip; these are called stinger tentacles, or sweeper tentacles. They use these to sweep the water to see if any other coral is in its area; if so, then they begin to sting the other coral. This is commonly known as coral war. Each coral is trying to make sure it has enough room around it so it can continue to grow and have more surface area for its offspring.
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Landsat 9 Sees Buccaneer Archipelago
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Landsat 9 Sees Buccaneer Archipelago

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In the sparsely populated Kimberley region of Western Australia, jagged landforms reach like fingers into the turquoise-blue ocean waters. Along the coastline north of Derby, they used to reach even farther. But rising sea levels submerged part of the coastal landscape, giving rise to hundreds of islands and low-lying reefs that compose the Buccaneer Archipelago.

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Picture of the day Pelagic stingray (Pteroplatytrygon violacea), Cape Palos, region of Murcia, Spain. This species of stingray has a worldwide distribution in waters warmer than 19 °C (66 °F), and migrates seasonally to spend the summer closer to the continental shelf and at higher latitudes. The only stingray that almost exclusively inhabits the open ocean, this species is typically found in surface waters down to a depth of 100 m (330 ft). The pelagic stingray typically grows to 1.3 m (4.3 ft) long and 59 cm (23 in) across. It’s an active predator that captures prey by wrapping its pectoral fins around it, before manipulating it to the mouth. A wide variety of organisms are represented in its diet: crustaceans, molluscs, bony fishes, sea horses and filefish, comb jellies and medusae, and polychaete worms. #ImageOfTheDay
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Picture of the day Pelagic stingray (Pteroplatytrygon violacea), Cape Palos, region of Murcia, Spain. This species of stingray has a worldwide distribution in waters warmer than 19 °C (66 °F), and migrates seasonally to spend the summer closer to the continental shelf and at higher latitudes. The only stingray that almost exclusively inhabits the open ocean, this species is typically found in surface waters down to a depth of 100 m (330 ft). The pelagic stingray typically grows to 1.3 m (4.3 ft) long and 59 cm (23 in) across. It’s an active predator that captures prey by wrapping its pectoral fins around it, before manipulating it to the mouth. A wide variety of organisms are represented in its diet: crustaceans, molluscs, bony fishes, sea horses and filefish, comb jellies and medusae, and polychaete worms. #ImageOfTheDay

unitedyam
Picture of the day
Pelagic stingray (Pteroplatytrygon violacea), Cape Palos, region of Murcia, Spain. This species of stingray has a worldwide distribution in waters warmer than 19 °C (66 °F), and migrates seasonally to spend the summer closer to the continental shelf and at higher latitudes. The only stingray that almost exclusively inhabits the open ocean, this species is typically found in surface waters down to a depth of 100 m (330 ft). The pelagic stingray typically grows to 1.3 m (4.3 ft) long and 59 cm (23 in) across. It’s an active predator that captures prey by wrapping its pectoral fins around it, before manipulating it to the mouth. A wide variety of organisms are represented in its diet: crustaceans, molluscs, bony fishes, sea horses and filefish, comb jellies and medusae, and polychaete worms.
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Picture of the day (purge this page’s cache) Assasi triggerfish (Rhinecanthus assasi), Red Sea, Egypt. This species of triggerfish reaches up to 30 centimetres (12 in) long, which makes them of the smallest in the family. It is tan above and white below with blue stripes between and below the eyes. R. assassi mostly lives in or near coral reefs. It occurs in the western Indian Ocean, including the Red Sea and Persian Gulf. #ImageOfTheDay
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Picture of the day (purge this page’s cache) Assasi triggerfish (Rhinecanthus assasi), Red Sea, Egypt. This species of triggerfish reaches up to 30 centimetres (12 in) long, which makes them of the smallest in the family. It is tan above and white below with blue stripes between and below the eyes. R. assassi mostly lives in or near coral reefs. It occurs in the western Indian Ocean, including the Red Sea and Persian Gulf. #ImageOfTheDay

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Picture of the day
(purge this page’s cache)
Assasi triggerfish (Rhinecanthus assasi), Red Sea, Egypt. This species of triggerfish reaches up to 30 centimetres (12 in) long, which makes them of the smallest in the family. It is tan above and white below with blue stripes between and below the eyes. R. assassi mostly lives in or near coral reefs. It occurs in the western Indian Ocean, including the Red Sea and Persian Gulf.
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Picture of the day Portrait of a geometric moray (Gymnothorax griseus), Red Sea, Egypt. This moray eel belongs to the family Muraenidae and is found throughout the western Indian Ocean and Red Sea at depths to 40 metres (130 ft). Its length is up to 65 centimetres (26 in). #ImageOfTheDay
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Picture of the day Portrait of a geometric moray (Gymnothorax griseus), Red Sea, Egypt. This moray eel belongs to the family Muraenidae and is found throughout the western Indian Ocean and Red Sea at depths to 40 metres (130 ft). Its length is up to 65 centimetres (26 in). #ImageOfTheDay

unitedyam
Picture of the day
Portrait of a geometric moray (Gymnothorax griseus), Red Sea, Egypt. This moray eel belongs to the family Muraenidae and is found throughout the western Indian Ocean and Red Sea at depths to 40 metres (130 ft). Its length is up to 65 centimetres (26 in).
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Picture of the day Tompot blenny (Parablennius gattorugine), Arrábida National Park, Portugal. Note: no FP of this species. It can be found in shallow, coastal waters off western Europe and northern Africa and in the Mediterranean. The tompot blenny is a relatively large blenny that can grow up to 30 centimetres (12 in) in length. There is a single branched tentacle over each of its eyes. It’s very territorial and its territory is centred around a crevice in the rocky reef which the fish uses for shelter. It occurs in shallow seas at depths of 3–32 metres (9.8–105.0 ft) and is crepuscular, being active mainly at dawn and at dusk. It has sharp, comb-like teeth which it uses to scrape food from the substrate. It feeds on sea anemones and other invertebrates such as prawns and other crustaceans. #ImageOfTheDay
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Picture of the day Tompot blenny (Parablennius gattorugine), Arrábida National Park, Portugal. Note: no FP of this species. It can be found in shallow, coastal waters off western Europe and northern Africa and in the Mediterranean. The tompot blenny is a relatively large blenny that can grow up to 30 centimetres (12 in) in length. There is a single branched tentacle over each of its eyes. It’s very territorial and its territory is centred around a crevice in the rocky reef which the fish uses for shelter. It occurs in shallow seas at depths of 3–32 metres (9.8–105.0 ft) and is crepuscular, being active mainly at dawn and at dusk. It has sharp, comb-like teeth which it uses to scrape food from the substrate. It feeds on sea anemones and other invertebrates such as prawns and other crustaceans. #ImageOfTheDay

unitedyam
Picture of the day
Tompot blenny (Parablennius gattorugine), Arrábida National Park, Portugal. Note: no FP of this species. It can be found in shallow, coastal waters off western Europe and northern Africa and in the Mediterranean. The tompot blenny is a relatively large blenny that can grow up to 30 centimetres (12 in) in length. There is a single branched tentacle over each of its eyes. It’s very territorial and its territory is centred around a crevice in the rocky reef which the fish uses for shelter. It occurs in shallow seas at depths of 3–32 metres (9.8–105.0 ft) and is crepuscular, being active mainly at dawn and at dusk. It has sharp, comb-like teeth which it uses to scrape food from the substrate. It feeds on sea anemones and other invertebrates such as prawns and other crustaceans.
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