Kevin O’Hara remembers a St. Patrick’s Day when a sentimental sprig of shamrock pinned to his school shirt became less a token of pride than a ticket to being mocked and bruised by classmates, and a window into a childhood braided with strict faith, poverty, and old country longing.
O Paddy dear, an ‘did ye hear
the news that’s goin’ round?
The shamrock is by Law forbid
to grow on Irish ground!
No more St. Patrick’s Day we’ll keep,
his color can’t be seen,
for they’re hangin’ men and women
There for wearin’ ‘o the Green!
– The Wearin’ o’ the Green, c. 1795, Anonymous
“STAND STILL, CAN’T YOU!” my Irish-born mother complained as she affixed to my blue school uniform shirt an Erin Go Bragh pin adorned with clay pipe and green ribbon.
“It’s St. Patrick’s Day! And look, shamrock,” she cooed, securing a generous bunch behind the tin button. She stepped back to admire her handiwork.
“There now, a lucky Irish lad, you are.”
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Oh, yes, lucky me. Lucky me to be going to school decked out in a girly corsage so class bullies could blacken my two eyes with potato fists.
Lucky me to be wearing a three-quarter-length tweed coat I called a “gyp,” feeling gypped out of a normal coat by this relic from the old country.
Lucky me never to miss early Mass during the six bone-chilling weeks of Lent.
Lucky me to be spending summer vacations visiting holy shrines, while all the other kids were going to amusement parks.
Lucky me to be so poor that a young curate once proposed our family should grace a billboard for the diocese’s annual Catholic Charities appeal, though Dad would assure us we were “not poor, but simply rich in poverty.”
Oh, yes, being Irish was a lucky thing, like having tons of homework on Trick-or-Treat night.
At school that morning, I slouched over my desk, trying desperately to hide my dainty spray of clover.
“Sit up straight, Master O’Hara,” scolded my fourth-grade teacher, Sister Maria Thomas. Her stern command straightened my spine like a swift boot up the behind, whereupon she caught sight of my tiny bouquet.
“What’s that greenery you’re wearing?” Her voice went soft, almost lilting, as she walked toward me.
“Shamrock, Sister.” My face turned red as every head in the classroom swiveled to look at me.
“Goodness gracious, shamrock!” She swooned, clasping her hands over the white bib of her black habit. “Where did you ever come by it, tell me?”
“My grandmother in Ireland sent it to my mom in a letter.” I turned all hot and itchy under her gaze.
“Isn’t it lovely?” She fingered the tiny leaves. “So much smaller than the clover that grows here in New England.
“Class, do you know St. Patrick converted the pagan Irish by using the shamrock’s three petals to explain the Holy Trinity?
“Now, Kevin, walk down the aisles so your fellow classmates can have a look. Imagine, genuine shamrock from the Emerald Isle!”
I would rather have run the gauntlet of Iroquois that clubbed old Father Isaac Jogues and Brother Rene Goupil in Auriesville, New York – one of our vacation hotspots. Sure enough, the girls smirked at my awkward fashion parade, while the boys took to calling me St. Kevin of the Sissies.
After my march of misery, I bee-lined it back to my desk, but Sister had another idea.
“Kevin, you must show your shamrock to Sister St. Regina. It would please her so.”
I walked out of the classroom to an accompaniment of snorts and giggles, and to the principal’s office, where I found Sister St. Regina sitting meditatively at her desk, suspended in prayer. She was a kindly old nun of failing health, and we vied for the privilege of carrying her black satchel back to the convent after school.
“What is it, child?” Her weak, watery eyes lifted themselves from her book of daily prayer.
I shifted from foot to foot. “Pancake . . . er, Sister Maria Thomas, wants me to show you my shamrock from Ireland.”
She beckoned me to her desk, where she touched the shamrock’s delicate leaflets with thin-veined fingers. Suddenly she began to weep, and she reached into her deep, mysterious black pockets for a handkerchief. Now, nuns often got angry, and many even laughed and sang, but I’d never seen one cry before.
At home that evening, after the family rosary, I told my parents how Sister Saint Regina had bawled her eyes out when I showed her my sprig of shamrock.
“I suppose the poor dear hasn’t seen any in years.” Mom nodded gravely. “She’s a Leahy by birth, coming from Ireland as a young girl.”
Seeing my jaw drop at the notion of nuns having any existence outside of convent, church, and school, she explained, “Most of the Sisters at St. Charles are Irish. Let’s see, There’s Theresa Gabriel Cawley, Mary Angelita McCarthy, Maria Thomas O’Connor, Helen Catherine Shine, Helen James Meagher, Stephen Maria Murphy…”
Boy, that was something to hear. Whenever I thought about where nuns might have come from, I imagined them to be either clip-winged angels sent to Earth to tend to God’s flock, or hatched from black-and-white speckled eggs on Easter Sunday. They never spoke of parents or siblings, but only of God the Father or the Blessed Mother, having no family but the Holy Family and their own cherished sisterhood.
Once I spotted a lock of Hellcat’s … er, Sister Helen Catherine’s jet-black hair peeking from beneath her starched white wimple, but that was my only shocking glimpse of a nun’s normal humanity. Otherwise, they were simply creatures of awe and fear.
But now it made perfect sense they were Irish, brought up in homes just like our own, with front rooms so chock-full of holy statues and religious pictures that your right knee would reflexively buckle in genuflection upon entering.
“I pray we can all visit Ireland again someday,” Mom sighed, in her own St. Patrick’s Day reverie, “and when we do, I’ll show you my mother’s winter garden where her shamrock grows.”
Before getting into bed that night, I took a look at the wilted bit of shamrock on my little nightstand and wished I’d given it to Sister Saint Regina. Curled up under the covers, I reviewed the eventful day and recalled how the venerable principal had touched the shamrock as reverently as if it were a relic of her patron saint.
I tossed and turned that long night, pursued by dreams of an Emerald Isle set like a jewel in the middle of a dark wide sea. There were druids and snakes, of course, and a flock of barefoot pagan girls running after St. Patrick through verdant fields. By an ancient standing stone, they begged the bearded man from over the seas to tell them more about his wondrous three gods in one.
In gratitude for his teaching, they offered him sally baskets lined in shamrock and brimming with speckled eggs – a selfless brood of God-loving nuns.
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*This story first appeared in The Boston Globe on St. Patrick’s Day, 2005. Kevin O’Hara is the author of “Last of the Donkey Pilgrims: A Man’s Journey through Ireland.” You can learn more about Kevin O’Hara on his website TheDonkeyman.com.
** Originally published in 2025 and updated in 2026.
JD Vance humiliated as Pope snubs Fourth of July 250 celebrations to stand with immigrants
This isn’t the first display of tension between the Vice President and the leader of the Catholic Church, stemming from the Trump administration’s hardline position on immigration.
Charlie Jones Senior US News Reporter
10:12 ET, 21 Feb 2026
Pope Leo XIV turned down the invite
Pope Leo XIV turned down the invite (Image: AFP via Getty Images)
Pope Leo XIV has given an embarrassing snub to US Vice President JD Vance by declining an official invitation to attend the upcoming July 4th 250th anniversary celebrations in the US – in order to go to an event supporting refugees instead.
The Pope, who comes from Chicago, will mark that date “on the tiny Italian island of Lampedusa – a migrant gateway in the Mediterranean,” according to Christopher Hale, who documents Vatican affairs through his “Letters from Leo” reports.
It is just the latest sign of worsening relations between the Vatican and Washington.
“JD Vance personally invited Pope Leo to take part in the anniversary celebrations. Many assumed Trump and Vance would welcome the first American pope with open arms during this historic jubilee. But Pope Leo never accepted the offer,” Hale reports.
It comes hot on the heels of the Vatican also turning down an invitation to join President Donald Trump’s Board of Peace. Additionally, the Vatican has discreetly confirmed the Pope has no intentions to visit the United States whatsoever in 2026.
“Instead, on the very day of America’s 250th, [the Pope] will kneel on a rocky outcrop closer to Tunisia than to Washington, bearing witness to those dying in desperate search of freedom,” Hale stated. “The contrast could not be sharper.
“President Trump envisions F-35 flyovers and fireworks in the capital’s sky; Pope Leo will stand under the same sun on Lampedusa, greeting strangers at the door.
“Trump wraps himself in the trappings of national glory, while Leo embraces what he calls the ‘moral obligation’ to welcome the migrant and refugee.
“Their clashing itineraries speak volumes about their clashing values,” Hale said.
The new Pope has positioned himself against the Trump administration’s hardline position on migration.
He opened the church’s penitential Lenten season by presiding over Ash Wednesday and lamenting the “ashes of international law and justice” that have been left by today’s wars and conflicts.
Pope Leo XIV’s decision not to participate in President Trump’s 250th anniversary celebration or his Board of Peace “is not a snub for snub’s sake. It is a conscious moral stance.
“The 70-year-old pontiff has made clear that true greatness is measured by our treatment of the least among us, not the size of our parades,” reports Hale.
“He has repeatedly condemned what he calls the ‘inhuman’ persecution of immigrant families, aligning the Church firmly against the mass deportations and border cruelty of the Trump era.”
In December 2019 Choyaa wrote about the negative effect of the role that Lundy plays within unionism. Col Lundy did not want to fight to the last man back in 1689; he considered surrender during the Siege of Derry. Unionists still gather in Derry on the first Saturday of December to ceremonially burn an effigy of Lundy in Derry, with the message that we won’t tolerate traitors who would let the enemy in.
Over the decades, unionists who would talk to the enemy, who would negotiate, rather than declare ‘Not an Inch’ have been labelled ‘Lundy’ as a codeword for Traitor. At the start of the Troubles, Terence O’Neil was accused of being Lundy because he wanted to talk to our neighbours in Dublin, and in later years David Trimble and Mike Nesbitt were called Lundies. Despite being full of Presbyterian ‘Dissenters’ the instinct within major sections of unionism is to require ‘loyalty’ and to crush dissent. This might have worked in the 17th Century, but it is a poor tactic for a modern political movement.
Although I follow her on Twitter, I do not know Linzi McLaren and it is unlikely that we would agree on everything (eg I don’t believe Irish unity is inevitable) but I do sympathise with much of her criticism of the current direction of unionism. It is saddening to witness the abuse directed at her -the Belfast Telegraph quotes: “good riddance”, “probably the worst unionist rep ever”, “then f*k off to Dublin, what’s stopping ya?”, “clearly not very intelligent”, “utter clown”, “well away you go”, “f*k off then”, “attention seeking nonsense”, “a traitor”, “another plastic unionist”. (My own tweet in support of Linzi attracted similar unpleasant replies).
Any thinking unionist knows that this sort of response damages the reputation of unionism and drives away moderate voters. If you insult and deride moderate unionist voters, we might send you a message by not voting, or we might vote for alternatives. No political party is owed our votes.
Too many within our unionist parties seem to have fallen under the spell of people like Trump and Farage, they enjoy deriding people they label as ‘woke’ and seem to relish culture wars. For a section of unionism this will be popular but many unionists look on Trump and Farage with horror – we will not support parties that follow his example.
Linzi was brave enough to run as a unionist councillor and rightly points out that our young people are fed up with religious intolerance and debates about flags, “They are increasingly interested in the protection of human rights, LGBTQ+ equality, the possibility of employment, getting on the housing ladder and living peacefully without the religious divides that have blighted this country for decades”.
Unionism is poorer without voices like that of Linzi and those who celebrate her departure do unionism no favours.
Ireland’s national St. Patrick’s Festival will be getting back to its roots this year as it takes over Dublin City from March 14 – 17.
Ireland’s national St. Patrick’s Festival returns to its roots in 2026, bringing together communities, artists, visitors, and audiences from around the world for one of the most recognisable celebrations of culture, creativity, and community.
The theme for St. Patrick’s Festival 2026 is Roots, a celebration of where we come from, what grounds us, and how we continue to grow together.
Ireland is a country deeply connected to story and tradition, where ancient myths sit alongside living culture, and seasonal rituals and everyday acts of connection are shared across communities. Ireland’s roots lie not only in history and folklore, but in the lived experiences of all those who call this island home, shaped by migration, emigration, and cultural exchange across generations.
In 2026, the festival explores roots as something living and evolving, inviting audiences to reflect on identity, belonging and shared stories, while creating space for new voices and contemporary expressions of Irish culture.
A vibrant city-wide program
St. Patrick’s Festival 2026 invites locals and visitors alike to experience a vibrant, city-wide program featuring over 150 artists working across music, street theatre, dance, comedy, craft, and participatory performance.
This year’s program places collaboration and accessibility at its heart, with highlights ranging from marching rhythms and immersive soundscapes to wheelchair-led dance, ballet for over-55s, iconic Irish theatre, subculture storytelling, hands-on craft workshops, family hubs, and neurodivergent-friendly spaces.
Together, these experiences reflect Ireland’s one shared story, rooted in tradition, community, and creative exchange.
The National St. Patrick’s Day Parade
The National St. Patrick’s Day Parade returns to Dublin on Tuesday, March 17, promising an unforgettable showcase of imagination, scale and creativity.
Guided by the Festival’s core values of community, diversity, joy, prosperity, and sustainability, the 2026 Parade will follow its established route from Parnell Square, expanding in ambition and interaction, delighting audiences of all ages.
The Parade will feature 12 large-scale floats from independent parade companies, with over 3,000 participants involved. Returning to the streets of Dublin are beloved pageant makers, including Macnas, Bui Bolg, Spraoi, Inishowen Carnival Group, Curious State, Volkidana, The Outing Queer Arts Collective, Artastic and ArtFX, alongside exciting new entries from Lumen Street Theatre and Show CoMotion, a new Dublin-based parade company making its Festival debut. Adding to the festivities, the Rotunda Hospital makes its first appearance this year with a special float designed by ArtFX.
International participation remains a hallmark of the Parade, with marching bands travelling from Scotland and the United States, including eight American bands from Ohio, Arizona, Illinois, Wisconsin, Iowa, Mississippi, Indiana, and Texas, reflecting the deep cultural connections between Ireland and its global diaspora.
Under the continued artistic leadership of Artistic Director Aoife Carry, the Parade prioritises craft and design excellence, community participation, sustainability and accessibility, with a strong focus on reuse, upcycling and mindful production.
Building on its Climate Action Plan, the Festival continues to champion sustainable practices and is proud to partner with Kia as its official vehicle partner for a fifth consecutive year.
Accessibility remains central to the Festival with the return of the Relaxed Parade Space, sponsored by Dublin City Council in partnership with AsIAm, with support from Bank of Ireland, Neuroconvergence Ireland, and Neurodiversity Ireland. Designed to support neurodivergent audiences and those who benefit from a more flexible environment, the space offers additional room for movement, sensory-friendly areas, limited seating options, and pre-Parade entertainment. Attendance is via lottery, with application details to be announced.
A limited number of Parade Grandstand Seats and Hospitality Packages will be available at StPatricksFestival.ie. For those unable to attend in person, the Parade will be broadcast live on RTÉ One and internationally via RTÉ Player.
Festival highlights across the city
Across the Festival weekend, Dublin will come alive with performances and participatory experiences that grow naturally from the streets themselves, inviting people to gather, share, and belong.
Audiences can enjoy music on the streets with performances from Mr Wilson’s Second Liners, and Dublin favourites Acid Granny Compact; moments of Gaeilge and humour with Áine Gallagher’s A Cup of Focals; and street comedy favourites including Garda by Colm O’Grady and the mischievous St. Patrick’s Seagulls.
Dance takes centre stage with Silver Swans, ballet created exclusively for over-55s, alongside the work of dance artist and activist Maryam Madani, whose wheelchair-led practice celebrates disability pride as a joyful and community-building act. Luail, Ireland’s National Dance Company, will present Dance Corner, curated by Dylan Quinn.
Theatre lovers can enjoy a special presentation of The Abbey Theatre’s The Plough and the Stars, marking 100 years since its premiere, while hands-on workshops including lacemaking, tin smithing, willow weaving and felting offer opportunities to engage directly with traditional and contemporary craft.
Prints of Ireland is collaborating with the festival on an exclusive Prints of Ireland x St. Patrick’s Festival range, produced by artist and Prints of Ireland co-owner, Heather Gilroy, which will feature a catalogue of specially designed items available via selected retailers and their website.
Events will take place across a range of iconic city locations, including Wood Quay Amphitheatre, EPIC, Wolfe Tone Park, Jameson Distillery, Dundrum Town Centr,e and St. Stephen’s Green Bandstand.
Family, community, and nighttime culture
St. Patrick’s Festival 2026 reflects the breadth of its audiences through a programme that spans generations, interests, and identities.
By day, family-focused hubs such as the Dublin City Council Family Village at Wood Quay will offer welcoming and playful spaces featuring DJ Seanem, Ireland’s youngest festival DJ, the Dublin City Library Bus, and creative experiences with Bricí Spraoi.
As evening falls, the Festival embraces Dublin’s vibrant night-time culture with standout moments including Pygmalion presenting Henrik Schwarz on March 16 and the Festival’s Fire Performances on March 14 and 15, creating shared cultural experiences for adult audiences rooted in Ireland’s world-famous sense of craic.
“St. Patrick’s Festival is one of the great celebrations of Ireland, and Dublin is proud to be its host,” Councilor Ray McAdam, Lord Mayor of Dublin, said.
“The 2026 program captures the very best of our national spirit — creativity, welcome and community — while reflecting my theme of Celebrating Dublin: the stories of our city, the strength of our neighborhoods, and the new voices that continue to shape our capital.
“I’m proud that this Festival brings people together and showcases Ireland, through Dublin, to audiences at home and around the world.”
Caroline Bocquel, Chief Executive Officer at Fáilte Ireland, said: “St. Patrick’s Festival plays a vital role in showcasing Ireland on the world stage, marking the start of the tourism season and welcoming visitors to experience our culture, creativity and warm hospitality.
“The 2026 Festival program celebrates Ireland’s roots through a rich blend of tradition and contemporary culture, while supporting communities, artists and the wider tourism and hospitality sectors. We look forward to welcoming visitors from near and far to Dublin this March.”
Aoife Carry, Artistic Director at St. Patrick’s Festival, said: “St. Patrick’s Festival has always been built from the ground up, shaped by the artists, makers, communities, and collaborators who bring it to life each year.
“In 2026, we are proud to centre the Festival around the theme of Roots, celebrating where we come from, what connects us, and how we continue to grow together.
“This year’s program reflects the depth and diversity of the stories that make up Ireland today, drawing on tradition, lived experience and creative exchange, while making space for new voices and new ways of coming together.
“I am deeply grateful to our funders, partners and sponsors whose continued support allows the Festival to grow thoughtfully and sustainably year on year, and I look forward to welcoming audiences from near and far to experience a St. Patrick’s Festival that is grounded, joyful and very much alive in Dublin this March.”
Peter Burke, Minister for Enterprise, Tourism and Employment of Ireland, said: “St. Patrick’s Festival is a significant driver of economic activity, supporting jobs, local enterprise and the wider tourism economy. Festivals of this scale not only celebrate our culture and identity, but also deliver real benefits for local businesses, tourism and employment across Dublin and beyond.
“The 2026 program shines a light on the richness of our culture and the stories that bring us together, creating shared experiences for people of all ages and backgrounds.
“By showcasing Ireland as a welcoming destination, the St. Patrick’s Festival strengthens our international reputation, and I am pleased to support a Festival that continues to attract and inspire visitors year after year.”
St. Patrick’s Festival is made possible through the continued support of the Government of Ireland, the Department of Enterprise, Tourism and Employment, Fáilte Ireland, Dublin City Council, and generous partners and sponsors. With equal gratitude, RTÉ and Q102 are proud media partners of St. Patrick’s Festival 2026, supporting the festival through national and local broadcast coverage and promotion.
The Festival Programme is available now at St PatricksFestival. ie and will continue to be updated as further events are announced.
“The Chapels of our city were densely crowded with the Faithful, anxious to commence the Holy Season of Lent by participating in the religious ceremony of the distribution of the Blessed Ashes.”
Depending on the area, these ashes were made either by burning the previous Sunday’s palm leaves or scraped from the remains of families’ turf fires. Whatever their providence, they were daubed on every forehead as a point of devout urgency.
This marked the beginning of almost six weeks of strict abstinence. This was no private nod to the calendar, newspapers even printed Lenten regulations. Everyone had to abide, and the call went far beyond abstinence from a treat or two.
According to tradition, children older than seven were not allowed milk during Lent. Younger children had only a little, and babies were to cry “three times” before they received any milk on fast days. Even the babes were tougher than your average adult today.
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Examples of these regulations can be gleaned from a number of late 19th-century Irish publications, which published the dictates of Paul Cardinal Cullen, Archbishop of Dublin, & Primate of Ireland as a matter of course.
This has been abbreviated from lists printed with various adaptations in the Cork Examiner and Dublin Courier (in 1859 and 1870 respectively) – though it appeared in myriad publications over those decades:
• Persons bound to fast are allowed to take only one full meal, of meager fare. (You were also allowed a small snack, but you had to remain hungry at all times).
• We grant permission to use flesh meat in Lent at one principal meal only, on Sundays, Mondays, Tuesdays, Thursdays, and Saturdays.
• Drunkenness, a vice degrading in itself, and the occasion of innumerable evils, the reading of lascivious poetry and romances, immodest representation in degraded theaters, improper dances, so repugnant to the purity of the Christian morals, are to be avoided, not only during Lent but at all times. (The polka was singled out as particularly offensive.)
• Eggs are prohibited on all Fridays and the first and last Wednesdays in Lent; on all other days, they are allowed to those who are bound to fast, at the one principal meal.
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• Fish and flesh meat cannot be used in the same meal on any day during Lent.
• Persons under their twenty-first year, broken down by old age, suffering from sickness, or engaged in hard labor are exempted from fasting. Such as requiring a dispensation, can apply to any of the parish priests, provided there be just reasons for doing so.
• Dispensations obtained without proper cause are to no avail. (So unless you actively opted out, you were in for the ride.)
• The faithful are exhorted to sanctify this holy season by prayer … for 40 hours.
• The faithful are exhorted to pray for the welfare of the Pope, now a prisoner in Rome, and to beg God to deliver him from the hands of his sacrilegious enemies. (The faithful were also required to pray for France.)
• During Lent works of piety and charity are to be performed … such as providing a Catholic education for Catholic children, thus preserving them from the immeasurable evils of mixed schools.
Feb 19, 2026
The Catholic observance of Lent, which begins with Ash Wednesday, has been of national significance in Ireland for hundreds of years. Getty Images
Ash Wednesday falls on February 18 in 2026, marking the official start of Lent for Catholics.
In Ireland, a predominantly Roman Catholic country, the 40-day period of Lent has been of national significance for hundreds of years.
“The Chapels of our city were densely crowded with the Faithful, anxious to commence the Holy Season of Lent by participating in the religious ceremony of the distribution of the Blessed Ashes.”
Depending on the area, these ashes were made either by burning the previous Sunday’s palm leaves or scraped from the remains of families’ turf fires. Whatever their providence, they were daubed on every forehead as a point of devout urgency.
This marked the beginning of almost six weeks of strict abstinence. This was no private nod to the calendar, newspapers even printed Lenten regulations. Everyone had to abide, and the call went far beyond abstinence from a treat or two.
According to tradition, children older than seven were not allowed milk during Lent. Younger children had only a little, and babies were to cry “three times” before they received any milk on fast days. Even the babes were tougher than your average adult today.
Sign up to IrishCentral’s newsletter to stay up-to-date with everything Irish!Subscribe to IrishCentral
Examples of these regulations can be gleaned from a number of late 19th-century Irish publications, which published the dictates of Paul Cardinal Cullen, Archbishop of Dublin, & Primate of Ireland as a matter of course.
This has been abbreviated from lists printed with various adaptations in the Cork Examiner and Dublin Courier (in 1859 and 1870 respectively) – though it appeared in myriad publications over those decades:
• Persons bound to fast are allowed to take only one full meal, of meager fare. (You were also allowed a small snack, but you had to remain hungry at all times).
• We grant permission to use flesh meat in Lent at one principal meal only, on Sundays, Mondays, Tuesdays, Thursdays, and Saturdays.
• Drunkenness, a vice degrading in itself, and the occasion of innumerable evils, the reading of lascivious poetry and romances, immodest representation in degraded theaters, improper dances, so repugnant to the purity of the Christian morals, are to be avoided, not only during Lent but at all times. (The polka was singled out as particularly offensive.)
• Eggs are prohibited on all Fridays and the first and last Wednesdays in Lent; on all other days, they are allowed to those who are bound to fast, at the one principal meal.
Love Irish history? Share your favorite stories with other history buffs in the IrishCentral History Facebook group.
• Fish and flesh meat cannot be used in the same meal on any day during Lent.
• Persons under their twenty-first year, broken down by old age, suffering from sickness, or engaged in hard labor are exempted from fasting. Such as requiring a dispensation, can apply to any of the parish priests, provided there be just reasons for doing so.
• Dispensations obtained without proper cause are to no avail. (So unless you actively opted out, you were in for the ride.)
• The faithful are exhorted to sanctify this holy season by prayer … for 40 hours.
• The faithful are exhorted to pray for the welfare of the Pope, now a prisoner in Rome, and to beg God to deliver him from the hands of his sacrilegious enemies. (The faithful were also required to pray for France.)
• During Lent works of piety and charity are to be performed … such as providing a Catholic education for Catholic children, thus preserving them from the immeasurable evils of mixed schools.
