Certified restoration 1691 (≈ 1691)
Date engraved on the base.
XVIIe siècle
Presumed initial construction
Presumed initial construction XVIIe siècle (≈ 1750)
Origin possible in the 16th century, restored later.
XIXe siècle
Added Basement
Added Basement XIXe siècle (≈ 1865)
Substantial to two degrees current.
23 novembre 1970
Historical Monument
Historical Monument 23 novembre 1970 (≈ 1970)
Registration by official order.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Calvaire (Case B 285): entry by order of 23 November 1970
Key figures
Information non disponible - Unknown sponsor
Blazon or mark erased on the base.
Origin and history
The Hengoat Calvary, located in La Roche-Jaudy, Brittany, is a 17th century granite monument, although its origin may date back to the 16th century. It consists of a shelled round drum placed on a talted cubic base and a two-degree base. The monolithic crusillon, compact, carries sculptures of geminous characters, including a Virgin of Pitié (partly disappeared), a Madeleine, Saint John, and a Christ in cross framed by the Virgin and Saint John. The corners of the base show apostles in high relief, while a coat of arms or a sponsor's mark, now erased, occupied a reserved space on the east side.
The date of 1691, engraved on the base, corresponds to a restoration after its initial construction. The current two-degree base dates from the 19th century and bears an inscription. Calvary is mentioned on the 1835 cadastre at its current location, although the adjacent road has since been expanded. Filed by order of 23 November 1970, it belongs today to the commune of La Roche-Jaudy.
The sculptures of the Calvary illustrate traditional religious scenes, such as the Virgin of Mercy or the Crucifixion, reflecting the importance of popular devotion in Brittany at that time. The apostles in high relief at the corners of the base underline the didactic and commemorative character of the work. The absence of a coat of arms or a visible brand today does not make it possible to identify with certainty the sponsor, but the quality of the sculptures suggests a local patronage or a religious community involved in its realization.
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