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Heritage classified

Key figures

Origin and history

The Collège Notre-Dame de Vitry-le-François was built in the 17th century on Place d'Armes, in the new city founded in 1545 by François I after the total destruction of Vitry-en-Perthois by Charles Quint. This monument, of classic style with a two tower facade, was designed as a collegiate one in the image of the large cathedrals. Its construction began in 1629, but was completed only in 1898 with the addition of the apse and walker, financed by the Count of Felcourt.

During the First World War, the college was requisitioned to serve as a military hospital: the chapels were transformed into operating rooms, while the wounded were placed on straw beds in the alleys. This building, classified as a historic monument since 13 September 1920, houses exceptional furniture, including 17th-century organs from the abbey of Trois-Fontaines, a master altar of 1716 of the abbey of Saint-Denis de Reims, and a pulpit carved by Remy Drappier in 1712.

The choir, surrounded by wrought iron grids, houses two organs and a master altar surmounted by a golden sky, framed by 18th century golden wooden angels. The side chapels contain major works, such as a painting by Brother Luke depicting Saint Francis in a 17th century altarpiece, or a Crucifixion painted by Restout in 1737. The monument also preserves commemorative elements, including 16th and 18th century funerary slabs, such as that of Jean de Mutigny, and monuments dedicated to David Bescheffer and Jacques Debranges.

The bells, dating from the 16th and 17th centuries and melted by masters like P. Aubry or Le Roy Jérémy, are displayed in a side chapel closed by a grid classified from the 18th century. The building, owned by the commune, illustrates both the classical religious architecture and the turbulent history of Vitry-le-François, marked by conflicts and reconstructions.

The collegiate church, still in cultural activity, is a major testimony of the Champagne heritage. Its furniture, paintings and classified architectural elements make it a must to understand the artistic and historical evolution of the Grand East region between the 17th and 19th centuries.

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