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Origin and history

The synagogue of Bar-le-Duc, built in 1871-1872 in Moorish style, is the work of architect Charles Demoget. Funded by private subscriptions, the city and the state, it replaced a private prayer room used since 1866. Its architecture combines elements typical of the synagogues of eastern France (star rosace of David, Tables of the Law on the facade) with local Renaissance influences, such as Corinthian pilasters. The Hebrew inscription above the entrance, taken from Genesis (28:17), emphasizes his spiritual vocation: "This place is none other than the house of God, and it is the gate of heaven. »

Inside, the synagogue is divided into three spaces: a vestibule, a nave and a "chorus". The walls bear Hebrew quotations organized according to a symbolic progression, while the wooden ceiling and painted decorations reflect a sober but significant aesthetic. The building, made of cut stone with a slate roof, also displays arches overshadowed by Hispano-Mauresque inspiration, characteristic of synagogues of the second half of the 19th century in the East. Disused after the Second World War because of the drastic decline of the local Jewish community, it has been listed as historical monuments since 2013, including its garden and fence wall.

The Jewish presence in Bar-le-Duc dates back to the Middle Ages, with a community attested until the twelfth century before being forced into exile by intolerance. It reappeared in 1727, but remained modest compared to Verdun, where the departmental rabbinate was located. In 1868, the acquisition of land on the banks of the Ornain allowed the construction of the synagogue, a symbol of a dynamic community (more than 25 families before the Shoah). Deportation during World War II decimates this community, rendering the place unfit for worship. Today, the building is preserved as a witness to the Lorraine Jewish heritage and its tormented history.

The architect Charles Demoget, assisted by entrepreneur Jean-François Goret, designs a modest but emblematic building, where each detail (rosace, inscription, interior decorations) recalls the twofold cultural and religious identity of the community. The synagogue, owned by a cult association, also illustrates the architectural exchanges between Moorish and local traditions, typical of Jewish achievements in France at that time. Its recent inscription in historical monuments aims to protect this fragile heritage, marked by the upheavals of the twentieth century.

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