Its crossing is reminiscent of contemporary structures in southwestern France, while the apse dates from the latter half of the 13th century.

A chapel was subsequently constructed on the north side of the apse, built around the mid-15th century for Duke Francis I of Brittany.

The church is situated on the north side of the Saint-Sauveur Abbey of Redon, near the town hall.

The abbey was founded in 832 and had a church built around 848, dedicated to Saint Stephen, located to the east of the current building.

The monks then left the abbey and wandered for several years in the Loire Valley, Burgundy, and Poitou.

However, a conflict between Duke John I of Brittany and the monks resulted in the latter's exile, which delayed the construction start.

By 1276, the lower parts of the central nave and the radiating chapels were well advanced, as evidenced by the receipt of a crucifix and two silver statues of the Virgin and Saint John for the high altar.

Among the changes implemented was the construction of a shed roof above the ambulatory, which blocked the triforium at the round part while leaving it open in the straight bays.

Furthermore, the nave vault was lowered, which led to the removal of the side windows and explains the lack of light inside.

[6] On November 10, 1799, Redon was taken by the Chouans after battles against the Republican garrison entrenched inside the abbey church.

[7] On June 4, 1815, the Chouans again captured the town but, lacking cannons, they could not dislodge the imperial soldiers entrenched in the abbey tower.

At the base of the tower, wall ribs were intended to support the aisles of the Romanesque nave; they rest on corbels shaped like inverted cones, of English origin, also observed at the same period in the transept of Notre-Dame de Guingamp.

The entire spire, devoid of guardrails but opened by small dormers and adorned with eight-sided ridge turrets, is also similar to the Guingamp edifice.

These abaci rest on very thin, plain capitals, which were reshaped after the fire to give a Doric style to the plaster-covered ensemble.

The capitals are carved in the shape of Corinthian baskets but decorated with particularly stylized volutes or vegetation, sometimes featuring a triangular mask.

In addition to the open and blind arcatures, the tower is decorated with irregularly placed stones of different colors in medium ashlar.

[3] The capitals on the second level feature compositions of leaves, scrolls, or interlaces reminiscent of those at the Sainte-Croix Abbey in Quimperlé.

The width of the straight bays of the choir decreases as one moves toward the apse, which suggests that the Gothic building was likely constructed on the foundations of the Romanesque church.

[18] Internally, the elevation comprises three levels: large double-roll arcades descend onto piers comprising four half-columns via smooth basket capitals; a large openwork triforium occupies the middle level; finally, wide high windows illuminate the building.

[18] The north aisle of the chevet is home to the "Chapelle au Duc," which was named after Duke Francis I, a patron of the abbey and was buried there in 1450.

[19] After the north transept is a diminutive rectangular chapel of reduced dimensions, which is dedicated to Saint Roch and was constructed during the 16th century.

It was crafted by the sculptor Caris Tugal and is particularly monumental, consisting of an altar surmounted by three stone figures.

They exhibit a structural similarity to the high altar, with a base supporting four columns topped with Corinthian capitals, which frame a large central painting and two niches on either side.

The upper portion of the altarpiece is supported by an entablature with a sculpted frieze, which is flanked by small columns that frame a niche.

[27] Finally, a Virgin and Child statue, made of silver-plated metal on a pearwood core, was created in the first quarter of the 19th century.

It consists of three registers: a collar of foliage, topped by larger leaves, trilobed on the central face and simple on the sides; above, two bound stems grow into volutes at the angles and center of the basket.

It comprises a stone sarcophagus that has been decorated with moldings and panels carved with escutcheons, the arms of which are no longer visible.

The recess is surmounted by an ogee arch with trefoils and crockets, which is then followed by a frieze of escutcheons in carved panels.

The aforementioned document provides insight into the composition of these parts of the organ, which were destroyed in the fire of 1780 and subsequently replaced in 1841 by an instrument ordered from the company Le Maresquier and completed by Le Logeais:[34] The great organ was constructed in 1901 by Louis Debierre and subsequently restored by Yves Sévère in 1976.

The instrument, housed in a neo-Gothic case (work by Harel, sculptor in Redon), is placed on the ground in an arcade to the right of the choir.