The chronograms are located on the sandstone pedestal. The Roman numerals of chronogram are larger than the other letters and are gold color-coded from the rest of the text.
The year 1724/1727 from the chronogram referring to erection of the column.
The chronograms:
Láska sVVornost božI požehnánI poprzeI troICe sVVatá at bIDLegI s náMI // 1727
Note: probably upper 'I' in the word 'poprzeI' is correctly
poD obranV trogICI božské obeC I také sebe MgestIs bakoVV obetVge // 1724
Mor hLaD VVáLkV a ohen trogICe božI z bakoVVa zažen // 1727
The Holy Trinity
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.
Source and more information: (
visit link)
=========================================================
Pískovcový sloup se sousoším Nejsvetejší Trojice stojí uprostred námestí. Základnu díla tvorí šestiboká podstava se sloupkovou balustrádou. Uprostred podstavy je umísten mohutný trojstenný sokl se tremi nakoso pristavenými hranolovými pilíri v rozích. Podstavec je rozcenen na sokl a profilovaou rímsovou hlavici, tvorící zároven patku navazujícího trojstenného horního soklu. Steny podstavce jsou zdobeny obdélnými zrcadly s vykrojenými rohy, rostlinnými motivy a nápisy. V rozích patky horního navazujícího soklu jsou usazeny figurální plastiky v životní velikosti (sochy sv. Václava, sv. Vojtecha a sv. Jana Nepomuckého), zobrazené v celních pozicích, obrácených smerem do okolního prostranství. Steny horního soklu jsou cleneny bohate zdobenými nápisovými kartušemi, z nichž každou ve vrcholu zakoncuje motiv mušle. Sokl je završen profilovanou predstupující rímsou, ve stredu sten segmentove zaklenutou, na jejíž rozích jsou osazeny sošky andílku. Samotný sloup vyrustá z trojboké patky a jeho steny jsou v celé ploše pokryté plasticky ztvárnenými oblácky a andílcími hlavickami. Sloup vrcholí figurou Boha Otce, pridržujícího rukou krucifix. Na jeho špici je umístena holubice Ducha Svatého v paprscích. Postavy svetcu i Boha Otce jsou zobrazeny v esovitém prohnutí telesné osy v dusledku kontrapostu a vzrušených gestech s výrazne plasticky pojatými drapériemi šatu.