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Origin and history

The synagogue of Cavaillon, located on Rue Hebraique, is one of the oldest in France. Its history dates back to the late Middle Ages: built by the Comtadin Jews in the 15th century, it was authorized by the bishop of Cavaillon in 1494. A semicircular turret, vestige of the medieval building, still remains today. This first building was probably razed to give way to a reconstruction between 1772 and 1774, decided by the community in 1771. The archives (prix-facts and exits) attest to this campaign, conducted under the direction of the architect Avignonnais Lambertin, with local craftsmen such as the masons Antoine and Pierre Armelin or the sculptor Jean-Joseph Charmot.

The 18th century synagogue is distinguished by its organization in two superimposed levels: the upper room, reserved for men and the official, and the lower room, dedicated to women and also serving as a bakery (azyme bread oven and marble table always visible). Its interior layout is remarkable, with a rococo stand (Bimah) facing the holy arch – a rare arrangement inspired by the Italian synagogues – and a suspended seat symbolizing the prophet Elijah, used in circumcisions. The decor, made of carved wood and gypsum, reflects the Louis XV style, while the bronze chandeliers and stained glass windows (yellow, blue, pink) evoke those of the synagogue of Carpentras.

Disused in the 19th century after the decline of the Comtadine Jewish community, the synagogue was classified as Historic Monument in 1924. Threatened by a 20th century real estate project, it was saved by the mobilization of associations and transformed into a Judeo-Comtadin museum in 1963. Several restoration campaigns (1955, 1969, 1988) have preserved its architecture and interior decoration, including the panelling, the stand, and ritual elements such as the adjacent mikvé (Rituary Bath). Today, the site also includes 18th-century Jewish ghetto houses, including that of the rabbi, offering an intact witness to community life then.

The conservation work has combined traditional methods and innovations: gentle cleaning of the stone facades of Oppede, repair of the frames to stop infiltration, and restoration of metal doors of votive trunks (damaged Hebrew inscriptions). Lighting, designed to imitate candlelight light, and the absence of heating (to protect woodwork) illustrate the concern to respect the authenticity of the place. The last campaign (1988), financed by the State, the Department of Vaucluse and the Fondation du Judaism français, also highlighted the well of the ghetto, the ritual bakery, and the gypsum decorations of the medieval turret.

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