In the light of the theme of displaced peoples and the values of welcome and hospitality, find out how the Camp de Judes, which opened in 1939 to provide shelter for Spanish refugees of the retirada (the mass exodus of Spanish republicans after Franco came to power), has made Septfonds an important Second World War remembrance site. La Mounière also offers an insight into how the development of the hatmaking industry in the 19th century influenced the village’s architecture.

Discover local personalities, some of them famous - like the aviator Dieudonné Costes, one of the pioneers of aviation and transatlantic flights - and how each contributed to the history and heritage of Septfonds.

La Mounière is an interactive museum, whose themes are discovered using multimedia resources. The visit can be extended with two outdoor trails, one around the remembrance sites in the commune, connected to the camp, the other around the theme of hatmaking and its architectural impact.

The museum has a particular focus on appealing to young people.

All content is translated into Spanish and English.

Sources: © La Mounière – Maison des Mémoires de Septfonds

La Mounière | Maison des Mémoires de Septfonds

www.septfonds-la-mouniere.com

15 Rue des Déportés - 82240 Septfonds - Email: mairie@septfonds.fr

Tel.: +33 (0)5 63 64 90 27 - Mob.: +33 (0)6 70 36 86 90

Built in the Pyrénées-orientales, Bellegarde controlled the Col du Perthus passage - formerly known as Portus Pompei (Pompei Passage), which provided an easy route between France and Spain. Owned by the Kings of Majorca, the site was fortified in 1285 to withstand the threat of the neighbouring Kingdom of Aragon. Initially, it consisted of a 20-metre-high watchtower above the Perthus passage, equipped as an autonomous defence unit. The Kings of Aragon reclaimed the region in the 14th century. The tower was then used as a toll by the local lords.

The Treaty of the Pyrenees, in 1659, incorporated the Col de Perthus and the surrounding area into the Kingdom of France, putting the French-Spanish border close to the site. The tour thus acquired strategic importance.

In 1667, the French troops struggled to push back a Spanish attack. The powers that be thus decided to reinforce the border defence system, a decision further backed up in 1674 when, with the works already underway, the Spanish troops captured the fort where they remained until being forced out by the French in 1675. Vauban, during his second inspection trip in April-May 1679, then decided to build a fully-fledged fortress on the site of the tower, for which he approved the plans drawn by his engineer for the fortifications in Rousillon, Rousselot.

The old fort was extended as far as it could be, the old keep was razed, the interior land was flattened, the bastions were protected by small towers that served as redoubts and the star-shaped layout was adopted for the covered way. On completion, the fort had a pentagonal layout.
The main wall was protected by a glacis one kilometre in length and five bastions all linked together. It enclosed a second line of ramparts and the protective walls surrounding the fortress. The fortress, designed to be autonomous, also contained shelter with space for up to 600 men, a chapel, a hospital, a bakery and mill and a big well, six metres wide and 62 metres deep, dug out in 1698. The only access to the fortress was the "Porte de France" gateway, protected by a small halfmoon fort. To build it, Vauban razed the former tower to the ground and lowered the hill by thirty metres. The fortress, which took 30 years to build, covered 14 hectares including 8,000 metres of buildings.

During the French Revolution, the region was the location of fierce battles during the Pyrenees Campaign. In 1793, the Spanish launched an offensive against Roussillon. General Ricardos passed through Vallespir and took Prats-de-Mollo and Fort Lagarde was occupied, which it remained until September 1794 when it was taken back by the troops under General Dugommier after a four-day siege.

Left dormant for over one hundred years, the site was employed by the public authorities after 1939 during the Retirada, when the Spanish Republicans fled Spain to escape Franco's advancing troops. The refugees, whose political opinions were badly perceived, were interned by Daladier’s government. The first camps were set up in Prats-de-Mollo and on the beaches of Argèles, then at the military camp in Joffre and lastly at Fort Bellegarde between January and February 1939.

Town Hall

15 avenue de France 66480 Le Perthus France

Tel: +33 (0)4 68 83 60 15

The fort is open from 3 June to 30 September from 10.30 am to 6.30 pm.

In the Pyrénées Orientales département, the gateway to Catalonia, Château de Salses sits between two natural obstacles: the foothills of the Corbières Mountains and the seaside ponds.

By order of Ferdinand the Catholic, King of Aragon, the fortress was built between 1497 and 1504 by Commander Ramiro Lopez, the King’s Grand Artilleryman, to block France’s access to Roussillon. Given its strategic location on a natural border, it was destined to see combat and came under siege in 1503, before it was even finished. Taken and retaken during the Franco-Spanish campaigns, Château de Salses, along with Roussillon, definitively became part of the Kingdom of France with the Treaty of the Pyrenees in 1659.

As it then lay far from the border, it had less strategic interest and the only reason it was not destroyed was that it would have cost too much. The fortress was later used as an army barracks for transiting troops, then as a storehouse for food and ammunition. Classified as a historical monument in 1886, it was handed over to the Ministry of Culture in 1930, which restored it and opened it to the public.

Château de Salses has many of the attributes of a medieval castle. It has kept the round stone towers at the ends of the long, continuous curtain walls, and has a keep to hold the fortress’s vital reserves: the arsenal and food stocks. And yet, notably after the adjustments made after the first siege in 1503, it should be considered as a transitional building, the forerunner of the bastion.

At the end of the 15^th century, the development of metal cannonballs required changes to the military fortification. Indeed, the medieval castle, which could resist fragile stone cannonballs, became vulnerable with the appearance of cast iron cannonballs.

Château de Salses illustrates the architectural solutions developed to deal with the devastating effects of metal cannonballs. To avoid enemy fire as much as possible, the fortification’s defences are deeply embedded in the ground, sheltered deep in the ditch. To the southwest and northwest of the fortress, two promontories set in front of the circular constructions seek to keep the enemy at a distance by eliminating blind spots: they were the precursors to the geometrical shapes of modern bastions. Attacks on the fortress itself are delayed by the external works; the curtain walls are no longer crenellated and now have cannon embrasures. Characterised by its thick walls, wide moats, imposing external works, artillery installations on wide platforms, Château de Salses illustrates the necessary adaptation of military architecture to developments in the art of warfare.

Salses Fortress

66600 SALSES-LE-CHÂTEAU.

tel.: +33 (0)4 68 38 60 13.

fax: +33 (0)4 68 38 69 85.
 

Open: from 1 June to 30 September, from 9 am to 7 pm. From 1 October to 31 May, from 10 am to 12.15 pm and from 2 pm to 5 pm.

Closed on 1 January, 1 May, 1 November, 11 November and 25 December.

Permanent exhibition. Free visits of the exterior. Guided tours of the fortress.

Access from Béziers: on the A9 motorway toward Perpignan, take exit No. 40, then the D 627 and N 9 roads toward Perpignan. From Perpignan: take the N 9 toward Narbonne.
 

Partially accessible to disabled visitors.
 

Pendant la Seconde Guerre mondiale, entre Haute-Loire et Ardèche, le Chambon-sur-Lignon et les villages alentours ont accueilli et aidé de nombreux réfugiés, la plupart juifs pourchassés dans une Europe sous le joug nazi. C’est pour transmettre les valeurs d’humanité et d’engagement qui ont permis ce sauvetage à grande échelle que le Lieu de Mémoire a ouvert en juin 2013.

Un Lieu de mémoire, d’histoire et d’éducation :

Le parcours historique s’organise autour des différentes formes de résistances : civile, spirituelle et armée. Il est complété par une salle mémorielle où des écrans tactiles permettent de visionner des témoignages de sauveteurs, réfugiés et résistants. Les outils multimédias facilitent la compréhension des événements, même pour les plus jeunes.

Le Service éducatif du Lieu de Mémoire propose toute l’année des visites et des ateliers pédagogiques adaptés aux différents niveaux scolaires. Pour les élèves, c’est l’occasion d’aborder la Seconde Guerre mondiale sous un angle différent. ?Catalogue pédagogique en lien

Sources : ©Lieu de Mémoire au Chambon-sur-Lignon - ©Luc Olivier – MDDT43

There are twenty French soldiers from the Franco-Prussian War of 1870-1871 at rest in an ossuary monument at the cemetery. From WWI, there are 427 French soldiers, 274 Belgian soldiers, nine Russian soldiers and 1 Chinese soldier buried in individual graves. As for WWII, there are 1,355 French soldiers, including 188 in the ossuary, ten Spanish soldiers, one Polish soldier and five Soviet soldiers, one of whom is in the ossuary. Five soldiers who died for France in Indochina are also buried at the cemetery.

Among the 2,237 soldiers who lie here are the bodies of Major Bouquet, Captain Speckel and the infantrymen Lena Faya and Aka Tano, who were summarily executed in June 1940 in the Bois d'Eraines. The remains of the liner Meknès were also brought to the Cambronne-lès-Ribécourt cemetery. On 24 July 1940 this ship was torpedoed at sea, leaving 430 dead - including Christian Werno.

The Musée de la Grande Guerre was officially opened on 11 November 2011 by the Pays de Meaux combined area council. The furthest point of the German advance and the site of the First Battle of the Marne in September 1914, Meaux and its neighbouring communes possess historic heritage which, until then, had been undervalued and was little known to the general public, since the Great War is not generally associated with the Île-de-France region. First off, then, the museum serves as a reminder that the front came right up to the edge of Paris, and that the “miracle of the Marne”, just one month after the outbreak of hostilities, was the victory that was to decide the course of the conflict. Besides its historical legitimacy, the museum, like any major structure, plays the role of a lever of development for the region. It contributes to shaping a new image while mobilising different actors around a shared project that can benefit everyone, both in terms of culture and tourism and in terms of networks.

Origins

The Musée de la Grande Guerre du Pays de Meaux has its origins in a meeting between Jean-Pierre Verney, a passionate, self-taught historian who, over more than 45 years, collected 50 000 objects and documents on the First World War – one of the largest private collections in Europe – and Jean-François Copé, chairman of the Pays de Meaux combined area council. Copé took the decision to buy the collection in 2005 and founded a museum on the First World War, at a time when Verney was preparing to sell overseas, having found no local authority willing to take it. It was an obvious choice, given the sheer scale of the Pays de Meaux area (18 communes with a total population of 85 000) and the fact that a number of its villages still bear visible traces of the Battle of the Marne (memorials, cemeteries, etc.), including the grave of French poet Charles Péguy, killed on 5 September 1914.

A museum on a human scale

From the outset, the Musée de la Grande Guerre du Pays de Meaux was intended to be for all visitors. Its bold design and contemporary layout, at once educational, sensitive and immersive, contribute to making it as accessible as possible.  This proximity to visitors can be explained in part by the desire to approach the conflict from a human perspective, through the everyday lives not only of the soldiers, but of women and children, continually switching between the front and the home front. All the nations that took part in the war are represented here, namely through the collection of uniforms, the overall intention being to present the universality of suffering and violence, whatever side of no man’s land your camp happens to be on

The object at the heart of the display

The exhibition is deliberately open and unconstrained, in order to allow each visitor to choose their own route, and thus build their own history. The main display, which presents the First Battle of the Marne (1914) alongside the Second Battle of the Marne (1918), clearly presents to visitors the passage from the 19th to the 20th century. Between these two key mobile battles at the beginning and end of the war, the presentation of the static war with its front comprised of trenches offers an insight into the notion of stalemate. Laid out in the main body of the museum, here is where the big hardware (lorries, aircraft, tanks, artillery pieces, etc.) is on show, making the museum a unique place where visitors can see the full range of objects and documents bearing witness to the conflict. This main display is complemented by a themed display: eight spaces look at topics that cut across the conflict (A New War, Bodies and Suffering, Globalisation, A Mobilised Society, etc.), adding new ways into the subject. The presentation is different for each of the spaces, thereby breaking up the monotony of the experience, as each new setting renews visitors’ interest. Obviously, the objects in the collection are at the heart of the display: they lend and take on meaning in their relationship with the space and in the dialogue they establish with the museum resources, and ultimately move visitors to ask questions about their own memories. By arousing interest and curiosity, the museum encourages visitors to interrogate their own personal history.

An innovative interaction

If visitors are greeted by ambient sounds even before they set foot in the museum, once inside, they find a whole series of objects to touch in the displays. Known as “martyr objects”, they belong to the collections and offer the public an opportunity to handle materials and shapes. There is also a wealth of interactive tools that aim to put the visitor in the driving seat: wearing special glasses to experience 3D stereoscopic views, feeling the weight of soldiers’ kit bags or coils of barbed wire, guessing what objects are in the archaeological niches, educational games to grasp the economic impact of the war or discover the different belligerent nations, interactive terminals to offer a deeper insight into the collection. All of this makes for an attractive and dynamic visitor experience, involving the different senses, thereby aiding the immersion in what is a complex subject.

The Musée de la Grande Guerre du Pays de Meaux is today an essential site for discovering the history of the First World War, and the area has become a remembrance tourism destination. The years of the centenary commemorations contributed to that process, which is sure to continue as the museum celebrates its tenth anniversary with a special season in 2021-22.

Sources : © Musée de la Grande Guerre

Last February a memorial was opened on the site of the former Royallieu internment camp. As place of history, it is a reminder of events, setting them within the context of the Second World War and the Nazi policies of repression and extermination. As a place of remembrance, it pays homage to all those who were detained there before being deported to Germany and Poland or shot as hostages. In 1939, the Royallieu barracks near Compiègne in the Oise département was used as a military hospital before being converted by the Germans in June 1940 into a camp where they brought French and British prisoners of war.

In 1941, they turned it into a " permanent concentration camp for active enemy individuals" under the official name of Frontstalag 122, which became a "German police detention camp" by virtue of decree on the 30th December 1941. Resistance fighters, political and unionist militants, Jews, civilians arrested in raids and foreigners etc. - more than 45,000 of them would pass through there before being deported to Nazi concentration and extermination camps. "I got out of the last departure and really hope not to be in on the next one. I am here with some really nice, good people: communists, Gaullists, royalists, priests, aristocrats and country folk - it's an extraordinary mixture", the poet Robert Desnos, who was interned on the 20th March 1944, wrote to his girlfriend. A short respite. A death train took him away on the 27th April to Flöha en Saxe and he was to succumb to typhoid on the 8th June 1945 at Terezin. It was from the camp at Royallieu that the very first deportation train was to leave French soil on the 27th March 1942. It took over a thousand Jews to Auschwitz, as did the next one on the 5th June. A third convoy, consisting mostly of communist and unionist hostages, left Compiègne on the 6th July. Royallieu was thus to become a transit camp for detainees, for the most part political and resistance fighters, prior to their deportation.
A place for remembering Research carried out by the Remembrance of the Deportation Foundation at the History Department of the Ministry of Defence's archive office for victims of contemporary conflicts has allowed the identification of the departure of twenty-six large convoys, in addition to a dozen small convoys between 1942 and 1944. Including the first two convoys of deported Jews, this makes a total of forty convoys. Since the camp also served as a place for detaining hostages, other internees were shot in the surrounding forests once reprisal measures had been agreed. It is to all these people that the internment and deportation memorial is dedicated. This has just been built on part of the former camp by the town of Compiègne in partnership with the Remembrance of the Deportation Foundation, the Defence Department (Directorate of Memory, Heritage and Archives, SGA/DMPA), the Regional Council of Picardy, the General Council of the Oise, the Heritage Foundation and the Caisse des dépôts et consignations (a government body in charge of investing and lending public money). The historian and filmmaker Christian Delage created the journey through history. The architect and scenographer Jean-Jacques Raynaud designed the setting. The result is solemn, due as much to the materials used - glass, concrete and stone - as to the way the floors and walls in the three preserved buildings that remain out of the original twenty-five have been stripped back to their initial condition, and the use of sounds and images to set the scene. Opposite the entrance stands a wall to guide visitors towards the reception hall. Made up of a series of glass pillars bearing the names of all the deportees and internees of the camp at Royallieu identified to date, its purpose is to give the internees back their identities. It is through these names that visitors are introduced to the site. Around the buildings is what is today a garden of remembrance, as well as an exhibition area: plans of the internment camp, group photographs of the guards and written and recorded accounts accompany visitors as they retrace the history of the site.
The memorial provides two routes that are complementary to and inseparable from each other. One of them, the result of the hard work of historians, puts the history of the camp in context; the other encourages visitors to follow their own personal remembrance trail. The history is mapped out along a frieze running the length of the walls of the ten halls that form the tour. It covers in succession: the historic context, internment and the daily life of the camp, transportation on the deportation trains and forced labour and death in the Nazi camps. Documents and archive films illustrate the descriptions. Letters, photographs, drawings and recorded eyewitness accounts tell of life at Royallieu. In places, the images projected onto the walls and floors dominate the whole room. The remembrance trails themselves are an opportunity to meet the many witnesses, who tell of how they survived their passage through this transit camp. These accounts, in several different voices, demonstrate the wide diversity in the backgrounds of the detainees, their opinions and the conditions in which they were held. These men and women are constantly present: their names, their faces, their words and their written accounts remain with the visitor. The buildings are both exhibition halls and "exhibits" at the same time. The walls, floors and ceilings are all in their original condition: the tiles and lino have been removed, to reveal the original rough concrete that internees would have trodden; the false ceilings from the 1970's have been taken down to show the barracks' plastered ceilings; recent paint work has been scraped off to reveal the different layers of materials, colours and decoration beneath.
The words of witnesses The memorial provides many and varied sound recordings. Chosen carefully, some of them contribute in setting the scene. Broadcast all around the place, they are triggered automatically as they detect visitors' movement. Others are transmitted by an audio-guide, available to every visitor. In this way everyone can follow his own audio route, in his own language and at his own speed. The audio-guide can also be used to develop tours for specific groups - young children or the partially sighted - and themed tours etc. The words of the witnesses resonate around the place. They resound off the metal and wooden chairs in the garden and leap out at you as you pass through the corridors of the buildings. It is these different accounts, organised by theme, such as arrival at the camp, daily and social life, ways of surviving, solidarity, loneliness, leaving for Germany etc., that best tell the history of the camp. These sound montages have been created from documents in the huge audio-visual collection built up by the Remembrance of the Deportation Foundation and from new accounts recorded especially for the memorial. At times, the scenography calls on the emotions in a personal way, encouraging visitors to attune their feelings with those of the place itself and to remember rather then to discover. This is why, for example, on the floor in the barracks the positions where the beds would have been are marked using a single line to draw their outlines, extending up the walls to indicate bunk beds. The resulting impression of being cramped together is immediately apparent. In the same spirit, pictures of men and women are projected onto the walls very slowly, one after the other. Letters sent by prisoners to their families have been collected in two virtual albums that are projected onto two table screens, whilst at the same time being read aloud by actors. The tour ends in a room dedicated to the history of deportation, genocide and the punishment of criminals.
The contribution of the Defence Department Through the general administration department's Directorate of Memory, Heritage and Archives, the deputy minister for ex-servicemen awarded a grant of two million Euros spread over 2005 and 2006, as a contribution to the creation of this place of remembrance. In addition, the Defence Department, now the owner of the site of the former barracks at Royallieu, transferred the management of two hectares of land to the town of Compiègne and it is on this land that the Internment and Deportation Memorial was built.
Internment and Deportation Memorial Camp de Royallieu 2 bis, rue des Martyrs de la liberté 60200 Compiègne Tel. 03 44 96 37 00 E-mail: memorial@compiegne.fr

The project for a tower 300 metres tall was instigated during preparations for the World Exhibition of 1889. The two principal engineers from the Eiffel company, Emile Nouguier and Maurice Koechlin, had the idea in June 1884 for a very tall tower, designed like a large pylon consisting of four lattice-work girders, outspread at the base and coming together at the top, linked together by metal girders placed at regular intervals. On the 18th September 1884 Gustave Eiffel was granted a licence "new authorisation for the construction of metal structures and pylons over 300 metres tall". The curvature of the uprights was determined mathematically in order to provide the best possible resistance to the effects of wind. Erection of the supports began on the 1st July 1887, to be completed twenty-one months later. All the components were prepared at the factory in Levallois-Perret in the Paris suburbs, the head office of the Eiffel company: between 150 and 300 workers were involved in its assembly. The Tower was erected with the aid of wooden scaffolds and small steam driven cranes attached to the Tower itself. The assembly of the first level was carried out using twelve temporary wooden scaffolds 30 metres high and then four large 45 metre scaffolds. Started in January 1887, the project was completed on 31st March 1889. Gustave Eiffel was decorated with the Legion of Honour on the platform at the top.

A showcase for French industrial dynamism at the 1889 World Exhibition, the Tower would see more than two million visitors pass by during the event. Gustave Eiffel saved his work from demolition by promoting research into radio transmissions and suggesting that his tower could be used as an enormous radio mast. After the first radio signals were broadcast by Eugène Ducretet towards the Panthéon in 1898, Eiffel approached the military authorities in 1901 with a view to making the Tower into a long-distance radio antenna. In 1903 a radio connection was made with the military bases around Paris, and then a year later with the East of France. A permanent radio station was installed in the Tower in 1906, thus ensuring its continuing survival. During the Great War, the Tower provided many services by listening to enemy transmissions, which gave it the nickname "the big ear". It is thanks to the Tower that Joffre would be informed of the advance of von Klück's troops and decide to requisition all the taxis in Paris to send soldiers to the Marne. It was responsible, amongst other things, for the arrest of Mata Hari because, once again, the Eiffel Tower had kept an ear out and deciphered the spy's messages. In 1921 the first public radio broadcast in Europe would be transmitted from its aerials. The first television trials from the Tower date from 1925 and the first regular broadcasts from 1935. In May 1940, before the German troops arrived, a handful of patriots carried out acts of sabotage on the Tower, successfully enough to ensure that the lift did not work when Hitler came. A strategic place for commanding the city of Paris, the Tower was closed to the public between 1940 and 1945; it would not reopen until June 1946. Radio broadcasts were made from the centre at Allouis under the control of the occupying authorities, who took control of Radio-Paris. The top of the tower has been modified over the course of the years in order to accommodate ever more antennae. Today it accommodates several dozen antennae of all kinds, including a television mast that is 324 metres tall.

L’Airborne Museum est situé au cœur de Sainte-Mère-Eglise, face au clocher sur lequel le parachutiste John Steele est resté suspendu. A travers une muséographie spectaculaire et réaliste, l’Airborne Museum vous fera vivre le Débarquement aux côtés des parachutistes Américains des 82ème et 101ème Airborne. De la préparation du Jour-J en Angleterre, jusqu’aux combats qui menèrent à la Liberté, vous accompagnerez les troupes aéroportées dans leur chemin vers la Victoire. Découvrez une exceptionnelle collection d’objets historiques, un authentique planeur et un avion C-47 ayant participé aux opérations du Jour-J.

Une extension majeure : Opération Neptune et le Centre de conférence Ronald Reagan.

Dans le bâtiment "Opération Neptune" préparez-vous à vivre les parachutages du 6 juin 1944 ! Embarquez de nuit dans un véritable avion C-47 en Angleterre, puis atterrissez sur la place de Sainte-Mère-Eglise au milieu des combats et prenez part aux opérations qui suivirent !

A  partir de Mai, au sein du centre de conférence Ronald Reagan, découvrez une exposition inédite : « La bataille des Ardennes, Bastogne, hiver 1944 » ainsi que dans le cinéma un film de 20 minutes qui retrace avec émotion la vie sous l’occupation allemande puis la libération de Sainte-Mère-Église et du Cotentin.

►Exposition : 01>09 Juin 2019

Les + :

• Airborne Reality (depuis avril 2016): Munis de votre Smartphone ou votre tablette, téléchargez gratuitement l’application du musée et créez votre propre visite guidée en fonction de vos centres d’intérêt et de votre temps de visite !

Grâce à la réalité augmentée, soyez les témoins privilégiés du Débarquement et des parachutages sur Sainte-Mère-Eglise!

Téléchargement gratuit au musée, depuis le site web www.airborne-museum.org ou via Google Play et l’App Store. Application en français et anglais, puis, dans les mois à venir, en néerlandais.

• Exposition (à partir de juillet 2016): La bataille des Ardennes, Bastogne, hiver 1944. A travers cette exposition, revivez les évènements de cette bataille.

Le 16 Décembre 1944, Hitler lance une offensive de grande envergure à travers les Ardennes belges pour reconquérir le port d’Anvers et repousser les forces alliées.  Ces dernières sont prises par surprise du fait de la soudaineté et de la rapidité de l’attaque. En urgence, le Général Eisenhower décide d’envoyer en renfort des unités qu’il tient en réserve en France. La bataille des Ardennes a été plus qu’éprouvante et meurtrière pour les forces alliées qui devaient faire face à un hiver très rigoureux et un manque criant de ravitaillement en nourriture et en armes. L’armée allemande ne sera mise en échec qu’après l’apparition d’une accalmie salutaire permettant le ravitaillement des troupes au sol et facilitant l’arrivée de l’armée du Général Patton. La bataille des Ardennes ne prendra fin que fin janvier 1945.

Cette exposition inédite mettra également en lumière la voie de la liberté partant de Sainte-Mère-Eglise et arrivant à Bastogne ainsi que le rôle de l’armée Patton au sein de la bataille des Ardennes.

Guides de visite sous forme de livrets-jeux disponibles de 6 à 15 ans, téléchargement gratuit sur www.airborne-museum.org ou achat sur place +1€/enfant

Sources : ©Airborne Museum