Initial construction 1878-1880 (≈ 1879)
Moorish style, central dome and semi domes.
1940-1945
Destruction during the war
Destruction during the war 1940-1945 (≈ 1943)
Sacking by German forces.
1946
Simplified reconstruction
Simplified reconstruction 1946 (≈ 1946)
Building rebuilt after the war.
1981
End of religious services
End of religious services 1981 (≈ 1981)
Decommissioning as a synagogue.
8 octobre 1984
Historical monument classification
Historical monument classification 8 octobre 1984 (≈ 1984)
Registration by ministerial decree.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Synagogue (cad. 1 265, 51): entry by order of 8 October 1984
Key figures
Léon Francfourt - Owner
Supervised the initial construction.
Origin and history
The synagogue of Delme, built between 1878 and 1880 in Moorish style, is distinguished by its central dome surrounded by semi-domes and its narrow windows limiting the interior light. Its funding was shared between the local Jewish community and public institutions (Lorraine District Council and Delme Municipality). This place of worship, located 31 Raymond-Poincaré Street, reflected the importance of the Jewish community in the region at that time.
During the Second World War, German forces blew up the building, which was rebuilt in 1946 in a simplified form. Disused in 1981, the synagogue was bought by the parish of Delme, then transformed into a contemporary art centre after its renovation. It has been listed as a historical monument since 1984 and now hosts exhibitions by international artists such as Daniel Buren or François Morellet.
Delme's contemporary art centre, labeled of national interest, perpetuates the memory of the place while offering it a new cultural vocation. The original oriental architecture, although modified after the war, remains a testimony of the Morrain Jewish heritage. The identified contractor, Léon Francfourt, supervised its construction, while its current management is carried out by an association.
Today, the site combines historical heritage and contemporary creation, with works in situ by artists such as Jeppe Hein or Yann Friedman. Its dual status — a de-acralized religious monument and artistic space — makes it a unique place in the Great East, at the crossroads of history and modernity.
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