The Archbishop of Puebla de los Ángeles (Mexico), Mons. Víctor Sánchez Espinosa, consecrated this October 6, feast of the Blessed Juan de Palafox and Mendoza – its predecessor in the chair of the chair of the called “City of Los Angeles”-, The new altar of the Archdiocesan Cathedral, ensuring that it is the “architectural and spiritual heart of the temple.”
The solemn Mass began at noon, before a cathedral full of faithful and priests who gathered to participate in the historical ceremony, in which the new Ambón was also blessed, from which the Word of God will be proclaimed, and the new headquarters or episcopal chair.
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The three new elements were made in Verona (Italy), by the renowned Taller by Arte Sacro “Arte Poli”who has done works – among other recognized Catholic temples and facilities – in the Basilica of San Juan de Letán, headquarters of the Bishop of Rome.
The construction of the current Cathedral of Puebla began in 1579, but the great advance in the works did not occur until the pastoral government of the Blessed Juan de Palafox, which between 1640 and 1649 left the temple almost completed. Before returning to his native Spain, Blessed Bishop consecrated the cathedral on April 18, 1649.
But his contribution to Mexican faith and culture extended beyond the cathedral, Palafox, which was previously Viceroy of New Spain – the current Mexico – as Mons. Sánchez Espinosa recalled in his homily, left his mark on “the entire historic center” of Puebla, with beautiful buildings such as his Episcopal House, various churches, the seminars of San Pedro and San Pablo and his library. Public Library of America ”as recognized by UNESCO, which considers it “Memory of the world”.
The Archbishop of Puebla stressed that, by consecrating the cathedral almost four centuries ago, its blessed predecessor urged “the authorities to assist with reverence” to the temple, while the priests asked them to “live with dignity and zeal their pastoral ministry”, as well as “to take care of the liturgy, the preaching, the liturgical garments already celebrate with mercy”.
To the laity, he continued, Palafox “urged them to value the cathedral” and “to hold the church and participate with fervor in the liturgical worship.”
The cathedral, “visible sign of the living church”
Next, Mons. Sánchez Espinosa stressed that the cathedral of Puebla “is not just a majestic building fruit of human talent and the fervor of generations. She is, above all, visible sign of the living church that pilgrims in Puebla, a mother who congregates her children and heart that beats the rhythm of faith of all the people of God.”
“The Second Vatican Council teaches that the particular Church manifests itself fully when the holy people of God meets around its bishop, especially in the Cathedral. The Cathedral is not therefore a temple among others, it is the Mother Church, where all the faithful know children summoned around the pastor that the Lord has given them.”
“The altar offers us the sacrifice of Christ,” he explained, while “Ambon makes us listen to his voice: it is the table of the word and table of the body and blood of Christ.” In addition, “the headquarters or chair reminds us of Christ Pastor to guide us.”
“The altar is the throbbing heart of the Church. From it the source of Christian life springs, as the Council reminds us,” he said.
The prelate added: “The altar is not an accessory furniture, but the architectural and spiritual heart of the temple (…) That is why the Church anoses it with the Holy Crisma, perfumes it with incense, covers it with party garments and illuminates it with the candles.”
Manual art and tradition face artificial intelligence
In a message read at the end of the ceremony, Master Paolo Poli apologized for not being able to “be present at this solemn moment” because of “own conditions of my health.”
In the text, read by Anna Pight, export manager From the art workshop Poly, and the son of Paolo Poli, Alberto, the artist emphasizes that the works carried out for the Cathedral of Puebla are “a bridge that joins the past and present, tradition and actuality”.
In its realization, he stressed, “the ancient artistic techniques of the Renaissance tradition” were followed, making each work “a symbol of continuity, a bridge that links the work of the teachers of the past with the creativity and art of the present”.
“At a time when artificial technology and intelligence seem to master the world scene, manual art and tradition remain as irreplaceable custodians of the identity of the people,” said the Italian teacher.
“We must not forget that without identity there is no future. Sacred art, with its beauty, has the mission of keeping memory alive, strengthening roots and transmitting spiritual and aesthetic values to new generations,” he added.
David Ramos
Graduate in Communication Sciences by the Private University of the North in Trujillo, Peru. With more than 12 years of experience in Catholic journalism working in ACI Press, I am based in Mexico since 2018. I have covered the trips of Pope Francis to Ecuador, Paraguay, Mexico, Colombia, Chile, Peru and Panama.