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Origin and history

The basilica Our Lady of Avioth has its origin in the miraculous discovery of a statue of the Virgin with the Child made of wood, around the twelfth century, in what was then only a modest hamlet. The legend tells that the statue, found in a thorn bush, mysteriously returned to its original location after every attempt to move. This phenomenon quickly attracted pilgrims, pushing the ecclesiastical and feudal authorities to support the construction of a sanctuary worthy of this emerging cult. A first wooden chapel, then a Romanesque stone church (which remains some pillars of the choir), was built to house the statue, marking the beginning of the village's rise.

In the 13th century, the release of Avioth in 1223 and the intensification of the pilgrimage allowed the launch of a vast Gothic church, which was built until the 15th century. The choir, of radiant style (late XIIIth), was followed by the nave, the lower side, and the western facade (XIVth), richly carved and inspired by the Muzon Abbey. The monument is distinguished by its basilical plan to walk around, mixing Lorrain influences (two-level elevations), champenoise (glass door), and remise. A flamboyant chapel, added in the 15th century south of the transept, was remodeled in the Renaissance, while a monumental staircase was built in the 18th century to facilitate access to the terrace.

The site contains two unique elements: the Recevress, a flamboyant Gothic monument erected at the presumed location of the discovery of the statue, and the Black Virgin herself, one of the few in northeastern France, dated by carbon 14 around 1095. The Recevress, initially a modest oratory, became a place of deposit of offerings after the original statue was transferred to the church. His name comes from the Virgin Recevress, a replica installed to collect the gifts of pilgrims. The handcuffs hanging above bear witness to the devotion of the released prisoners, while the coat of arms of Gilles de Rodemack (Governor of Luxembourg in the 15th century) adorn its walls.

The basilica was listed as a historic monument in 1840 and was restored in the 19th century by Émile Boeswillwald, who preserved its revolutionary sculptures and stained glass windows, such as those of Jean-Jacques Grüber (1930). The pilgrimage, attested since the 12th century, still culminates every 16 July, perpetuating a tradition linked to Bernard de Clairvaux, who would have sang the Salve Regina there for the first time. Raised to the rank of minor basilica in 1993 by John Paul II, it owes its preservation to the Heritage Foundation and to the gifts of the faithful, illustrating eight centuries of unbroken devotion.

The interior architecture reveals a two-level elevation, a deep choir surrounded by an openworked stone fence, and a walkway opening onto chapels. The organ of Nicolas Boizard (1715) and the Eucharistic cabinet, inspiring the form of the Recevress, complete this ensemble. Damaged during the First World War, the basilica was preserved through continuous restoration campaigns, including those of Viollet-le-Duc. Today, it remains a symbol of the religious heritage of Lorraine, mixing art, history and spirituality.

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