page_title: Calvary at Plougastel-Daoulas
section_title: The west face of the Calvary
hierarchical_section_title: Calvary at Plougastel-Daoulas / The west face of the Calvary
caption_attribution_description: Français&#160;: L'adoration des mages, calvaire de Plougastel-Daoulas, BretagneBrezhoneg: Tri roue ar zao-heol, Ar c'halvar, Plougastell Daoulaz, Bro Gerne, BreizhEnglish: Adoration of the Magi, The calvary, Plougastell Daoulaz, Finistere, Brittany This building is indexed in the Base Mérimée, a database of architectural heritage maintained by the French Ministry of Culture,&#160;under the reference PA00090241 . беларуская (тарашкевіца)‎&#160;| বাংলা&#160;| brezhoneg&#160;| català&#160;| Deutsch&#160;| Ελληνικά&#160;| English&#160;| Esperanto&#160;| español&#160;| euskara&#160;| suomi&#160;| français&#160;| magyar&#160;| italiano&#160;| 日本語&#160;| македонски&#160;| Nederlands&#160;| português&#160;| português do Brasil&#160;| română&#160;| русский&#160;| sicilianu&#160;| svenska&#160;| українська&#160;| +/−
context_page_description: The Calvary of Plougastel-Daoulas in the arrondissement of Brest comprises a raised octagonal pedestal made from the yellow granite of Logonna-Dāaoulas, flanked by four thick arched buttresses. All the sculptural work is by the Maître de Plougastel except the horseman on the left of the crucifix which is by Millet. It is a listed historical monument since 1889.
context_section_description: The west face of the Calvary deals with the "résurrection".
  The western face is slightly larger and higher than the other three faces. It is dominated by a depiction of the resurrected Christ which is placed above a large arch with pillars on either side in which there is a form of altar. This arch interrupts and divides the cornice and to the left of this part of the Calvary there is a stairway leading up to the pedestal's platform. Priests would use this stairway to access the platform and deliver sermons. Another feature of this face of the Calvary is that there is extra space over each buttress so that individual statues can be placed on them.
  The west facing cornice is in two sections, divided by the arch. On the left-hand side of the arch, after a statue of a bishop and Saint John and his attribute the eagle on the buttress, we have a scene showing Jesus' entry into Jerusalem. On the right hand side of the arch we have a depiction of the Adoration of the Magi.
  The entry into Jerusalem. Jesus rides on an ass and is accompanied by five of his disciples, one of whom holds a book. A small figure emerges from the nearby tower and lays a rug in Jesus' path whilst another, his hands clasped together, stands in the door of the fortress of Jerusalem, here represented by a small crenelated tower.
  The adoration of the Magi. The Virgin Mary sits holding the baby Jesus and Joseph is behind her. The first king is on his knees, has placed his crown on the ground and offers his present in a sort of square chalice.  The other two kings stand, their crowns on their heads and hold vases containing their gifts. One's costume is completed by a small cross and type of coif whilst the other has a cord around his shoulders from which a cross is suspended. The cow and the ass are at Joseph's side.
  On the surface of the west face of the pedestal and from left to right we first see the devil himself, a frightening figure. He is trying to tempt Jesus who is appearing before Pontius Pilate. Next, we are shown the resurrected Christ who has emerged from the tomb. Here the date 1604 is inscribed. Next, we see the young Jesus engaged in discussions with the two lawyers. Then Jesus is shown holding the hands of two lost souls who he has rescued from the open mouth of hell ("Abandon all hope ye who enter here") from which flames emerge and other lost souls writhe in agony, including the legendary Kattell Gollet. A demon sits above the mouth orchestrating proceedings and another with horns is with the others in the mouth itself.
  The devil, dressed in a monk's habit and with fearsome teeth, holds out some stones in his left hand and a globe in his right hand. He teases Jesus asking him to turn the stones into bread and telling Jesus, with reference to the globe, that he could be the ruler of the entire world if he chose to be so. Between the devil and the second image of Jesus we see Jesus wearing the crown of thorns, his hands bound and held by a soldier. He is appearing before Pontius Pilate who is seated and wears a turban. He touches his thumb with his left index finger to show that he is speaking. Then we see a second image of Jesus but without the crown of thorns. To understand this scene it is best to see the image of the devil and the image of Christ without the crown of thorns as apparitions and speaking across Pontius and that group.
  The risen Christ. By the simple device of making Jesus Christ's statue much taller than the surrounding statues, the sculptor underlines Christ's importance. He emerges from the tomb with a "pilgrims's staff" in his hand whilst he gives a blessing with the other. He is surrounded by four guards, two seated and two standing. All four are asleep. The arch contains an altar and statues of Saint Peter, Saint Sebastian and Saint Roch. Sebastion and Roch were regarded as saints who specialised in warding off disease so their veneration was important. The people feared another epidemic and wanted it avoided. Peter holds his key, Sebastian is depicted with arrows whilst St Roch prays on his knees. On the buttress to th
caption: The three wise men present their gifts with Mary and Joseph looking on. The two cattle remind us that the birth has taken place in a stable
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