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Origin and history

The chapel of Saint-Nicodemus, located in Pluméliau in Morbihan, has its origin in two local legends. The first relates that an apparition of Saint Nicodemus would have guided the inhabitants towards a marshy site, marked by the stop of oxen released at liberty. The second evokes an ex-voto of the Lady of Kerveno, promising a chapel at the place where she would find her husband back from war. These accounts, though symbolic, illustrate the spiritual and community anchor of the monument.

The chapel has been classified as historical monuments since 1910 with its enclosure and fountains.It has a remarkable architectural unit, mainly dating from the 16th century (1520–1540). Only the tower, topped by an arrow of 46 to 48 meters, appears slightly posterior (circa 1550). It is home to a 1507 bronze bell named Guillemette, offered by the noble Guillemete of Yvernay. A staircase of 110 steps, housed in an adjacent turret, leads to this iconic bell tower.

The interior houses a 17th century polychrome altarpiece by Olivier Martinet, commissioned under the rectorate of Toussaint Cormier (1649–73). This altarpiece represents Saint Nicodemus receiving the body of Christ, surrounded by the saints Gamaliel and Abibon. Two other altarpieces, dedicated to St Peter, St Isidore, Our Lady of Lorette and St John, enrich the transepts. The woodcuts, carved and dated 1539, bear the names of the donors and craftsmen, including Jean Le Layec and Lois de Kerveno, rector of the period.

The fountains, in Pontivy leukogranite, date from 1608 and 1790. The first, flamboyant Gothic style, honours Saint Nicodemus and his companions, while the second, dedicated to Saint Cornély, protects oxen from epidemics. These fountains played a central role in forgiveness, where the faithful shaved and washed to protect themselves from disease. Animal offerings (veals, lambs) were auctioned for the poor, and the priest shared bread, butter and cider.

The sacristy (1649) and the house of the chaplain (early eighteenth century) complete the whole. The pardon, described by Gustave Geffroy in 1905, mixed animal processes, auctions and bonfire, reflecting the fusion of religious beliefs and Breton agricultural practices. The coats of arms of donor families, such as the Rimaison and Guengat, recall the importance of local elites in building and maintaining the place.

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