Timeline

Heritage classified

Key figures

Origin and history

The church Our Lady of Bodilis originated in the late 15th century in the form of a chapel, a place of prosperous pilgrimage thanks to donations from the faithful. In 1533, an agreement between François de Tournemine (Lord of Coetmeur) and Christophe de Chauvigné (Bishop of Leo) formalized his status as a truce, marking the beginning of his transformation. The construction of the current building began in 1564, as indicated by the date engraved on the bedside designed by architect Philippe Beaumanoir, and was completed in 1570. This multi-hulled bedside, typical of the Breton Renaissance, symbolizes the richness of Leon's land at that time.

During the 16th and 17th centuries, the church underwent several beautification campaigns reflecting its community importance. Between 1585 and 1601, a southern porch was added to the right of the second span of the nave. The north side, as wide as the nave, was built between 1653 and 1657, while the south side was modified between 1663 and 1670, with diaphragm arches separating its spans. These works are accompanied by remarkable decorative elements, such as the carved sandstones of the nave or the altarpiece of the Rosary made in 1669 by Maurice Le Roux de Quimper.

The sacristy, opened on the north side, was erected between 1677 and 1686 by architect Christophe Kerandel. The high altar, added by Guillaume Lerrel de Landivisiau between 1695 and 1700, and the pulpit to preach by François Lesquelen (1744) complete this ensemble. The church, classified as a historical monument in 1910, thus bears witness to the late evolution of Breton religious art, mixing Gothic heritages (bell warheads) and Renaissance influences. Its interior, of the « dark nave » type, is distinguished by columns with circular bases serving as benches, a Breton peculiarity.

Two construction errors mark its history: the first arcade falls on a column engaged in the west gable, creating an unusual drop, while a large arcade on the right side of the altar presents a yousure poorly aligned with its column, redone in 1670. These imperfections, far from damaging the building, underline its living and evolutionary character, shaped by local artisans over nearly two centuries.

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