“Kadosh, kadosh, kadosh,” the inscription seems to whisper, echoing across centuries on this very spot. Here, upon the Charles Bridge, stands the sousoší kalvárie “U Tří Svatých” Sculpture. Though its name might sound like a mouthful, it holds a story as compelling as the city around it. This sculpture, a poignant depiction of the crucifixion, isn’t just a work of art, it’s a historical palimpsest. The central figure, Jesus upon the cross, dates back to 1657. Crafted in bronze by Hans Hillger after the design of Wolf Ernst Brohn, its stark beauty captures the gravity of the moment it portrays. However, the inscription surrounding it tells a more complex story. “Adonai Tzva’ot” it proclaims, “Holy, holy, holy is the Lord of hosts,” a verse from the Hebrew Kedushah prayer. This inscription, added in 1696, wasn’t an act of interfaith harmony. It was a mark of shame, commissioned from a Jewish leader named Elias Backoffen after he was accused of blasphemy. Even within this act of religious persecution, you can see the threads of history woven through the sculpture. Notice the backward aleph in “Tzva’ot,” a poignant reminder of the Nazi occupation, removed and then mistakenly replaced. The missing vav in “Adonai” speaks further, a silent testament to the passage of time and the stories etched upon this artwork. This sculpture isn’t just a religious icon or a beautiful piece of bronze; it’s a chronicle of faith, intolerance, and resilience, forever intertwined on the Charles Bridge.
Центральный дом работников искусств
Step through the grand wooden doors of the Central House of the Workers of Art, and you’ll be transported to