In 1818 he was sent to be the parish priest of Ars-en-Dombes, an isolated village some distance from Lyon, and remained there for the rest of his life because his parishioners would not let him leave. He was a noted preacher, and a celebrated confessor: such was his fame, and his reputation for insight into his penitents’ souls and their futures, that he had to spend up to eighteen hours a day in the confessional, so great was the demand. The tens of thousands of people who came to visit this obscure parish priest turned Ars into a place of pilgrimage.

  “The Curé refused to sit for a portrait. When the sculptor Cabuchet surreptitiously tried to capture his features in a ball of wax during the catechism, Vianney sternly bounced him out of the church.” (The Curé d’Ars Today, by G.W.Rutler, 1988).

  The French State recognised his eminence by awarding him the medal of the Légion d’Honneur in 1848, and he sold it and gave the money to the poor.

  In the earliest centuries all vestments were white – the white of baptismal purity and of the robes worn by the armies of the redeemed in the Apocalypse, washed white in the blood of the Lamb. As the Church grew secure enough to be able to plan her liturgy, she began to use colour so that our sense of sight could deepen our experience of the mysteries of salvation, just as incense recruits our sense of smell and music that of hearing. Over the centuries various schemes of colour for feasts and seasons were worked out, and it is only as late as the 19th century that they were harmonized into their present form.