Water, air, fire… In the regions of Bitche and Sarreguemines, the elements live amongst nature.
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european institute of cultural routes |
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| Caroline Hamajda |
| 17 July 2007 |
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Classed as a world biosphere reserve by Unesco, the Regional Park of North Vosges has a gentle landscape suitable for walkers.
The abundance of the forests and the presence of water have naturally led man use fire in developing crafts.
Earthenware and glass-making factories have produced the world’s most beautiful dishes fit for the tables of princes and Kings.
In an envied location, the Bitche region has been marked by the genius of Vauban as well as major wars with numerous chateaux ruins and the “untouchable� Maginot Line of which Simserhof’s fort is a striking living example.
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A jewel of military heritage in the Moselle, the Bitche citadel is distinguished by its monumentality. Visitors, equipped with a helmet, can re-live the heroic Siege of 1870 by watching a series of films from the subterranean chambers.
A little history…
When Louis XIV took hold of Bitche in 1680, aware of the strategic importance of the rocks in Bitche, he had a first citadel built. Vauban was put in charge of the works and erected, between 1681 and 1683, a fortress on the ruins of a medieval castle.
In 1698 the citadel was knocked down and then rebuilt from 1741 to 1754 by the Count of Bombelles, as indicated by a plaque that Louis XV put up at the citadel's entrance. The work of Vauban was respected and reinforced by other works. During the entire 18th century, the citadel was constantly reinforced then in 1854 was classed as a fortified town of the first category.
From 1870 to 1918, the architecture of the citadel was greatly modified. The First World War did not damage it at all and it was used as barracks and for observation. During the German occupation, it served as a prison, causing it to be bombed in the Liberation in 1945.
In 1959 the town of Bitche became part of the Citadel. Then in 1979, it was classed as a Historic Monument. From 1979, restoration and conservation works were carried out on the building.
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Design of the Citadel
The ingenious organisation of the building is surprising: a central plateau flanked with four bastions and protected by a half-moon in the south-west corner and a higher area in the north-west. This citadel also has underground chambers which make up a real town with casemates, a well, a stable, a kitchen and a bakers.
The citadel today
Visitors can visit it through a unique journey of discovery.
A great historical fresco with audio-visual and olfactory effects is shown in the different underground rooms lasting over an hour. During this journey, the visitor becomes the spectator of an adventure film.
Since 2003, the Garden for Peace continues the journey by offering a vision on the theme of “war and peace� through a rapport between the plants. The visitor can discover plants which live in harmony and plants which “make war� as well as ephemeral creations.
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A bucolic site in the heart of the Regional Park in North Vosges, the Eschviller Mill houses a Museum about the corn mill following the history of the milling technique and the new museum, the educational sawmill.
Proof of an activity practised since the 17th century in the Bitche region, the Eschviller Mill is one of the last mills in the Schwalb valley, with an authentic water wheel creating all the energy needed to turn the corn mill and the flour producer.
The educational sawmill, opened in 2003, gives demonstrations of sawing wood as well as an impressive view of the mechanisms linking the water wheel to the machines.
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The guided tour of the mill allows the visitor to assist with the entire process involved in the creation of flour. The mill, in a perfect state of conservation, shows visitors the different elements of its workings: the water wheel, the gears, the grinding stones, the underpass, as well as the famous miller’s alarm. The waterwheel works in front of the visitors, starts the grinders and grinds the grains of flour. The many ancient tools exhibited, as well as the numerous bilingual signs explaining what is happening evoke the culture of cereals and follow in detail the evolution of the mill from the 18th to the start of the 20th century.
The educational sawmill allows the visitor to discover the evolution of techniques used in mills to saw boards in the 17th to 20th centuries. The museum also presents a working iron saw dating from 1773, started by the waterwheel. Numerous ancient sawing and foresting tools are also presented.
The visit is organised as an educational circuit: a number of bilingual panels mark out the workshops; models can be manipulated in order to discover the different types of water wheels and gears. Tools and photographs show the exploitation of wood, from the forest to the sawing techniques. The water wheel is run and a demonstration of sawing is offered.
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| The Museums of Earthenware and Earthenware techniques |
The Museum of Earthenware
The ceramic industry started in Sarreguemines at the end of the 1790s thanks to brothers Nicolas and Augustin Jacoby. Manufacture was then taken over by Paul Utzschneider who introduced new techniques. He retired in 1836 and left the management of the business to his son-in-law Alexandre de Geiger. In 1871, management was taken over by Paul de Geiger who gave the manufacture a huge boost and achieved commercial success with the “Majolique� objects for decoration.
The historic earthenware museum, an old residence of Paul de Geiger, houses a magnificent collection of objects from the 19th and 20th centuries: frescos, vases, flower-pot holders, monumental chimneys and earthenware pans.
In the heart of this museum is the Winter Garden of Paul de Geiger, a true precursory jewel of Art Nouveau entirely decorated in murals made up of earthenware tiles. In the centre of a wall is a fountain in monumental earthenware. In sections of this fountain, two panels representing views of Sarreguemines and two female characters, allegorical of earth and fire, incarnate two elements whose fusion created the masterpieces of ceramic art. Two floral motifs signed C. Schuller announce the arrival of Art Nouveau.
Visitors can see a production dedicated to table arts: fifty different shapes and some six hundred types of different designs in stoneware, fine earthenware or porcelain. At the end of the 19th century, multicoloured ceramic designs were very popular in houses and on the roads. The most beautiful notices were designed in the style of renowned artists such as Simas. The workshop in Sarreguemines also reproduced publicity posters, such as the “Petits Beurres de LU�. The visitor can also see a major collection of mural frescos, intra and extra mural, as well as richly coloured pans and chimneys whose high level of technicality and expertise is unique to earthenware makers in Sarreguemines.
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Earthenware Museum
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Museum of Earthenware techniques
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The Museum of Earthenware Techniques in the Blies Mill
In the 19th century, the mills were placed on the borders of rivers which could be used as sources of energy. One of these mills, the “Wackenmuhle�, which specialised in the preparation of pastes for earthenware and porcelain was constructed in 1841 on the left bank of the Blies and today houses the Museum of Earthenware Techniques.
Since its creation, the museum has held a major collection of machines and tools specific to the ceramic industry which have allowed the reconstruction of production workshops.
Here the visitor can discover the fabrication process of earthenware, from the initial material to the final baking: the major stages of which are heating, grinding, working up, turning, grading and decoration.
The visit starts in the welcome centre, followed by a walk along the Blies and the demonstration of ovens for heating the pebbles and grinding stones.
The first stage focuses on techniques for preparing the paste and working with it. The second looks at the different techniques for decorating the earthenware with reconstructed work-posts including a workshop and a laboratory.
This museum brings together all the techniques and knowledge acquired during the 19th and 20th centuries for ceramic art.
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This major work of artillery, situated in the East of the Moselle, forms part of the Maginot Line, and was focused on by the Moselle General Council in a project aiming to highlight cultural and tourism-focused locations. It was then opened to the public in July 2003.
Construction of the Simershof started in 1930; one thousand people worked on it day and night. In 1933 the protective elements were installed. In 1934 the electrics were set-up along with a 1700 metre-long rail network. In 1935, the building was ready to use.
This major work of artillery is the centrepiece of the fortified area of Rohrbach. Ten sections spread over 54 hectares, including two sections for access, eight sections for combat, 1700 metres of rail road and five kilometres of gallery. The Simserhof could house more than 800 soldiers in the barrack buildings, made up of a series of bedrooms, operation rooms, a hospital, a doctors office and a police station, as well as a lounge area and a kitchen equipped with modern utensils.
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The visit to the Simserhof is made up of a unique journey, using modern museographical techniques: special effects and sound effects. It starts with the screening of a film following the history of the Maginot Line from 1918 to 1940.
After the screening, the visitor enters an automated vehicle. They are guided by the voice of sub-officer Schmitt, an imaginary character whose tale is inspired by fighters at the fortresses of the Maginot Line. The vehicle plunges the visitor into the heart of the tale, at 36 metres below ground, for a half-hour journey.
The last part of the circuit takes the visitor back to 1940, reliving the fifty days of fighting at the Simserhof. Scenography mixes special effects, historic newsfeeds and images and sounds which plunge the visitor to the sides of fighters in the atmosphere of the assaults and bombings of June 1940.
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| European Archaeological Park of Bliesbruck-Reinheim |
The European Archaeological Park of Bliesbruch-Reinheim is an open-air museum representing daily life for two founding civilisations of European identity: the Celtic culture and the roman culture.
This museum is situated on an archaeological site allowing the visitor to discover the way of life of two civilisations, the celtic culture and the roman culture: the Gauls before and after their Romanisation.
The first excavations were linked in parts to the exploitation of sandpits in this area of the Blies valley.
In 1954 the archeologists discovered the remains of a Celtic necropolis which was located near to the remains of a huge gallo-roman villa. The excavations only started properly in 1979.
In 1985 the local council for the Moselle, with the support of the Ministry of Culture, decided to buy back a section of five hectares.
In 1986 the site was classed as a Historic Monument. From 1987 the Archaeological Park took on a European dimension, and thus in 1989 a Franco-German committee for running the park was created in order for the countries to carry out the project together.
From 1992 to 2003, the Park went through major developments. It was inaugurated in 1995 when the Moselle Council created an archaeological service in Bliesbruck.
The European Archaeological Park of Bliesbruck-Reinheim is the ideal place to learn about celtic and gallo-roman civilisations while being a place for many archaeologists, scientists and university students to work.
At a time when there is a major focus on European construction, it highlights the common heritage of two European nations, France and Germany.
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View of the Park
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Tomb of the Princess of Reinheim
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The visit for the public is split into four parts:
Firstly the visitor can discover a reconstructed Celtic necropolis. It is possible to enter the mortuary chamber of the Princess of Reinheim (400 B.C.) An authentic ambiance has been created with rough concrete, allowing the visitor to discover the tomb of the princess and her personal belongings: bronze goblet, gold, amber and coral jewellery, a mirror and items of finery. Information panels are location in the gallery and descend towards the mortuary chamber giving the visitor the keys to understand the Celtic world of the 5th century B.C.
Next, the visitor discovers a monumental gallo-roman villa whose asymmetrical architecture is impressive, measuring nearly 5000m2.
Two areas of handcrafting and commercial vocations give an impression of the work, techniques and daily life of Gallo-romans who lived between the 1st century and the start of the 5th century B.C.
Finally, the public spas of a small gallo-roman town are highlighted by original museography: the visitor can discover this spa through a system of suspended footbridges.
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| Glass Working in Meisenthal |
The Museum of Glass and Crystal, the ancient glass factory and workshop of Emile Gallé from 1867 to 1894 shows the techniques of traditional glass and crystal making, while the International Centre for Glass Art is a true research laboratory focusing on contemporary creation.
The House of Glass and Crystal
Between 1867 and 1894, Emile Gallé worked at the glass factory in Meisenthal creating new techniques for working glass, designing new shapes and ideas which made Meisenthal the birthplace for Art Nouveau glass.
In 1976 it was decided to create a glass museum on the site. On 9th July 1983, the House of Glass and Crystal opened. It tells the story of the glass industry in the Bitche region from the 16th century to the present day.
On the ground floor, old glass-makers’ tools and a reconstructed oven allow guests to understand the traditional techniques used for making glass and crystal. These are also demonstrated in a video room, by a film on glassblowing and the craft of turning glass in the workshops of Saint-Louis and Lalique.
On the first floor, prestigious works by Gallé, Burgun, Schwerer, Daum, Lalique, Saint-Louis and unique contemporary artists are displayed.
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The House of Glass and Crystal
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View of the CIAV ovens from the mezzanine
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The International Centre for Glass Art
The International Centre for Glass Art [CIAV] is a glass-making centre created in 1992. It is managed by the Community for communes of Glass and Crystal Countries, which joins seven villages with a glass tradition: Enchenberg, Goetzenbrück, Lemberg, Meisenthal, Montbronn, Saint-Louis-lès-Bitche and Soucht. It is situated in one of the buildings of Ancient Glassmaking in Meisenthal.
Complementing the Museum of Glass and Crystal, this centre for research and contemporary creation has two vocations: production and teaching, by allowing students of Art Schools to discover glass through seminars and workshops.
The CIAV, which welcomes artists and designers, is a place for meetings and international exchanges.
It aims to be a tool for local development and a place for creation between tradition and innovation and between creativity and industrial tradition
A rich exhibition of contemporary glass art captures the most beautiful creations from seminars and workshops at the International Centre of Glass Art.
In the exhibition room, a mezzanine allows visitors to admire a Glassmaking master at work and to be amazed at the magic of fusing glass.
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