Place de l’Eglise
01 April - 31 October
Mon 10.00 - 19.00
Tue 10.00 - 19.00
Wed 10.00 - 19.00
Thu 10.00 - 19.00
Fri 10.00 - 19.00
Sat 10.00 - 19.00
Sun 10.00 - 19.00
01 November - 31 March
Mon 10.00 - 17.00
Tue 10.00 - 17.00
Wed 10.00 - 17.00
Thu 10.00 - 17.00
Fri 10.00 - 17.00
Sat 10.00 - 17.00
Sun 10.00 - 17.00
Sundays in June: Baroque music festival around the organ
2d and 4th Sunday of the month : 11 am
Vic's church has been the subject of many reconstructions: the choir collapsed twice, in the 15th and 16th centuries, and was rebuilt with a flat chevet (you can see it by going around the church). The nave was also transformed at the same time. Thus, of a typical Halle church in the region characterized by three vessels of equal height, it sees its aisles lowered to support the central part. The ceiling was installed in the 18th century to replace the collapsing vault. Finally, the reconstruction of the bell tower during the 19th century made a sentence of the Vicois revolutionaries who remained nevertheless very religious disappear: "the French people recognize the immortality of the soul".
Outside, on the south wall of the church are many limestone carved funerary monuments, testimony to the location of the former Old Master's cemetery. Inside, the Notre-Dame de Bonsecours chapel houses the remains of Vic's rich characters, particularly the Hoffelize family.
All these treasures that you will discover make the church listed as a Historical Monument since 2015.
This cross Christ in polychrome oak was made at the end of the 15th or beginning of the 16th century. During the First World War Christ was protected by the inhabitants of Vic. The head and elements of the body were hidden in different parts of the church and village.
The woodwork of the church choir comes from the former abbey of the premonstratensians of Salival (4 km from Vic). They are typical of the Louis XV style with many gildings. The golden angels and fire pots that surmount these woodworks are also period. Later, the choir was completed with several paintings: The Virgin, Saint Joseph and Saint Marien in the centre. On the latter are its attributes: the hive and the bear.
To the right of the choir is placed an apotheosis of Saint Peter Fourier, represented by angels taken to heaven. This painting inspired the paintings of the saint of the cathedral of Nancy, of Saint-Jacques de Lunéville or of Saint-Nicolas des Lorrains in Rome.
Finally, the large statue of the Virgin Mary, on the left, also comes from Salival Abbey. Carved in Jaumont limestone, it was certainly placed at the entrance of the abbey. Note the delicacy of the details: the long curly hair, the folds of the typical 15th century beak coat and the ornaments on the crown.
The Pietà, a representation of the weeping Virgin Mary holding her dead son on her lap, is a theme born in Germany. It developed in Lorraine, notably through the works of the sculptor Ligier Richier (Saint-Mihiel).
This 16th century polychrome wooden statue was gilded at the beginning of the 20th century. It has recently been restored to its original colours, which were previously hidden by the gilding. His study will also provide more information on pigment manufacturing.
The organ of Vic-sur-Seille, from the Louis XV period, was built in 1750 and was rebuilt in 1953 by Blesi-Haerpfer, after being very damaged by the passage of time. The latter was very well suited to the liturgy but not to cultural animation.
In 1996, a new organ was ordered from Gaston Kern, which could be inserted behind the 17th century buffet, classified as a Historic Monument. This new instrument, inaugurated on 18 October 1998, is still in use today. This organ has 3 keyboards, 29 stops (set of pipes with the same extent) and about 2,000 pipes!
This baptismal font is made of white limestone from the late sixteenth century. Its support is older, carved in ochre limestone in the 15th century. Many personalities from Vicenza were baptized here, including the famous painter Georges de La Tour, on March 14, 1953.
The carved tympanum dates from the late 13th or early 14th century. On two registers is represented the story of Saint Marien (or Marin), the patron saint of the church. It is the legend of this hermit from the 6th century that is represented in the registers.
On the top left, the saint is fed by two bears who bring him honey and bread, on the other side of the dove the saint confesses five kneeling soldiers. The dove of the Holy Spirit symbolizes the presence of God. On the lower floor, Saint Marien teaches two people, both very attentive. In the centre, two looters who have just burned down a farm in the monastery repent. Finally, Saint Marian baptized one of the two looters accompanied by two other people, one of whom was a warrior.