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Origin and history

The Calvary of the Rue Louais, located in Binic-Étables-sur-Mer (former commune of Étables-sur-Mer, Côtes-d'Armor), is a monumental granite cross dating from the 16th century, although some sources evoke a possible origin in the 15th century. Built on the initiative of local notables, it consists of a base, a base, an octagonal barrel and a cross decorated with sculptures, including a crucifixion with Christ, the Virgin and Saint John on one side, and a Virgin with the Child on the other. Figures of angels, saints and apostles complete his iconography. This monument, at a height of 5.50 meters, illustrates Breton religious art of modern times.

During the French Revolution, the Calvary was dismantled and rebuilt to its original location in 1863. Filed under the title of historical monuments by order of 25 January 1918, he was moved in 1986 to facilitate the work of the port of Armor, before being restored between 2018 and 2020. The restoration includes complete disassembly, cleaning, replacement of the barrel to regain its original colour, and reconstruction of missing carved elements. It was re-opened on September 18, 2020, returning to its central position at the communal boundary between Étables-sur-Mer and Saint-Quay-Portrieux.

The Calvary embodies both an artistic heritage and a local historical marker. Its displacement in 1986, linked to economic activity (career and port), and its recent restoration, reflect tensions between preservation of heritage and territorial development. The sculptures, typical of Breton Calvary, served both as support for popular devotion and as a demonstration of the social status of sponsors, often notables or local corporations.

Protection in 1918 emphasized its early heritage importance, in a context where rural religious monuments were threatened by modern upheavals. Its turbulent history — disassembly, displacement, restoration — bears witness to the challenges of memory and identity for Breton communities, especially in a region marked by a strong tradition of Christianization via monumental art. Today, it remains a symbol of the resilience of the local heritage to economic and social transformation.

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