kaple Nejsvětější Trojice (Rozsochatec) Chapel

The beginnings of the project are related to the plague epidemic that hit the Czech Republic in 1713. Baron František Leopold Becyne, the free lord of Lažany, has undertaken to thank the building of the chapel for averting the plague in connection with the epidemic. When the Archbishop asked for permission of the building, the main reason was the considerable distance to the nearest parish church - which was located in Habry, approximately 19 kilometres from the Sosochánek towards Čáslav. The Prague Castle Concierge approved the application on the basis of a written permission of 12 November 1714. Bechýně wished that the abbot Václav Vejmluva would benefit the finished building. For reasons unknown to date, however, the construction was never implemented - whether Lažanski had run out of funds or encountered other obstacles, it is now impossible to determine. The chapel therefore only exists as an architectural design.

Santini got caught up in the Soapbox because of her activities in the region. In September 1714 he worked on the reconstruction of the Želviv conventional Church of the Birth of the Virgin Mary (the construction lasted between 1713 and 1720), and Abbot Hieronymus Zhána wrote in his diary that Santini stayed with Lažanski for several days. The architectural plans, which the Baron subsequently sent to Prague's consistors, have probably come from this stay.

The chapel project is fascinating with its geometry. Santini designed a floor plan in the shape of an equilateral triangle - a choice that symbolically reflected the initiation of the chapel of the Holy Trinity. This theme appears repeatedly in Santini's work, for example at the Piarist College in Rychnov nad Prizeň. The triangular plan was first used by Santini's teacher Jean Baptiste Mathey in Czech countries. The designer tried to upset the simplicity of the walls with concave rizality, but they only gently emerge from the masonry. The facade was supposed to be cut horizontally by moldings and vertical lisenas. The entrance to the chapel allowed three portals in the facade of risalites, over each was a simple rectangular window. The Mansard roof was finished with a three-sided lantern decorated with concave volute and the symbol of the Holy Trinity, which was probably to be performed in metal.

The interior was based on the principle of six-sided central arched dome on three pendants. Two rooms were supposed to be located in the corner of the chapel - the southern part formed a spiral staircase leading to a floor with empores, the northern part was designated as a sacristy. The main space was divided into three chapel with three altars. In his creative decision-making, Santini clung to the Baroque style of Christoph Dientzenhofer and his followers, with whom he shared a tendency to decorative sculpture - he also collaborated with sculptor Matej Václav Jäckel.

Today, only the remnants of this project can be seen. The chapel was never established, yet this unrealized plan brings a valuable insight into the early 18th century and into the ambitions of the supreme nobility, which sought to express its piety through architectural works, according to the designs of the best builders of its time.