The Trinity is most commonly seen in Christian art with the Spirit represented by a dove, as specified in the Gospel accounts of the Baptism of Christ; he is nearly always shown with wings outspread. However depictions using three human figures appear occasionally in most periods of art.
The Father and the Son are usually differentiated by age, and later by dress, but this too is not always the case. The usual depiction of the Father as an older man with a white beard may derive from the biblical Ancient of Days, which is often cited in defense of this sometimes controversial representation. However, in Eastern Orthodoxy the Ancient of Days is usually understood to be God the Son, not God the Father; early Byzantine images show Christ as the Ancient of Days, but this iconography became rare. When the Father is depicted in art, he is sometimes shown with a halo shaped like an equilateral triangle, instead of a circle. The Son is often shown at the Father's right hand.[Acts 7:56] He may be represented by a symbol—typically the Lamb (agnus dei) or a cross—or on a crucifix, so that the Father is the only human figure shown at full size. In early medieval art, the Father may be represented by a hand appearing from a cloud in a blessing gesture, for example in scenes of the Baptism of Christ. Later, in the West, the Throne of Mercy (or "Throne of Grace") became a common depiction. In this style, the Father (sometimes seated on a throne) is shown supporting either a crucifix or, later, a slumped crucified Son, similar to the Pieta (this type is distinguished in German as the Not Gottes), in his outstretched arms, while the Dove hovers above or in between them. This subject continued to be popular until the 18th century at least.
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A sandstone sculpture on a three-piece pedestal with a tulip-shaped lower part, standing on a pedestal with a foot with a profiled cornice. On the sides of the pedestal distinctive volute wings. On the ledge, ending the pedestal at the top are two kneeling angels, above them angelheads in the clouds and the Virgin Mary. The sculpture is closed by the Holy Trinity - God the Father with a tiara holding a cross with Christ between his knees. In the front wall of the pedestal there is a princely coat of arms with the inscription and chronogram of 1715, below it the renovation inscription with the date 1725. On the back of the pedestal the renovation inscription with the year 1924 and the Latin inscription. The pedestal surfaces are decorated with acanthus reliefs at the top. Around the sculpture stone balustrade railing made of quadrilateral skittles. There are statues of st. Šebestiána, Rocha, Rosalie and Filomeny from 1735.
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Svatá Trojice, Nejsvetejší Trojice, Boží Trojice ci trojjediný Buh je spolecné oznacení Boha v krestanském dogmatu o trojjedinosti, trech božských osobách, totiž Bohu Otci (Buh, stvoritel sveta), Bohu Synu (Ježíš Kristus, vykupitel sveta) a Bohu Duchu Svatém (posvetitel sveta), které sdílejí jediné božství. Podstata a vztah techto osob je složitý teologický problém odlišne rešený v ruzných církvích. Historicky nejvýznamnejší byl spor o filioque (latinsky „i Syna“), nejduležitejší veroucný spor Velkého schizmatu, které v raném stredoveku definitivne rozdelilo hlavní proud krestanství na západní (katolickou) a východní (pravoslavnou) církev.
Ve výtvarném umení je Nejsvetejší Trojice nekdy zobrazována zpodobnením postavy starého Boha-Otce, mladého Ježíše Krista a Ducha svatého v podobe holubice (napr. v kompozici Trun milosti aj.). Jindy je symbolizována trojúhelníkem, jako v prípade Božího oka nebo uplatnením trojbokého pudorysu zvlášte u trojicních sloupu. Príkladem muže být trojboký morový sloup na pražském Malostranském námestí, jehož socharská výzdoba vrcholí postavami Krista, Otce a holubice pri obelisku, který je zakoncen zlatým trojúhelníkem s Božím okem.
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