From approximately the second half of the 17th century, we encountered manifestations of Baroque piety in our territory, which fundamentally influenced the development of architecture, visual arts, and the overall landscape of the Czech land. At this time, piety was associated with a strong belief in miracles, emotionality, and intensity of faith overall. The common man at this time tried to live an exemplary life of piety to achieve a peaceful afterlife and have a 'good death' visiting him in the end. Baroque faith and art are characterized by 'memento mori', which is intended to lead to an awareness of one's mortality and preparation for death. Memento mori is also a part of the depiction of the saints who were removed from the Roman catacombs and displayed in church reliquaries. Complete skeletal remains are very often displayed to remind the person of his or her transience. Simultaneously the clothing of the skeletons in expensive garments and jewelry, including their presentation, were intended to captivate the Baroque man and show him that the glory of heaven is mighty and eternal.
The Marian cult is still a very popular cult within the Christian faith today. However, since the 4th century, the cult of the saints began to take shape, and its worship spread throughout Christian Europe. From the Middle Ages to the Baroque period, it grew its popularity, which was also helped by the establishment of the Council of Trent. At the same time, the veneration of the saints became a defining element against the Reformation and non-Catholic beliefs.
The aforementioned Marian cult was very popular, but in the Baroque era, it was overshadowed by a veneration of relics of the holy martyrs, which were more tangible for the common man and presented the glory of the saint who shed his blood for the faith.
The holy martyrs were seen as the link between heaven and earth. Their souls resided in the heavenly kingdom of God, where they could intercede with God for people who prayed to them and asked for their help in difficult life situations. Saints were also generally seen as patrons of cities, helpers and protectors against diseases, and also as patrons of guilds and particular crafts.
The Baroque period was a crucial time for the veneration of holy relics because in 1578 the Roman catacombs were rediscovered, which made it possible to acquire large numbers of complete holy bodies, which were taken to churches throughout Europe for veneration and promotion of the cult. We are talking about the cult of saints of the Roman catacombs or also the cult of the catacomb saints.
For churches and monasteries, possession of holy relics meant increased attendance at pilgrimages, feasts, and church festivals. During these events, relics of saints were removed from altars and publicly displayed. They were also often carried on stretchers in processions. This entailed raising a considerable amount of funds from the faithful.
With the advent of the Enlightenment, which marked a revolution in the development of European thinking, Baroque pomposity and piety attenuated. Similarly to the days of the early Christians, faith becomes individualized and is more likely to take the form of individual philanthropy and charity. Baroque pomposity recedes, and fades, and the cult of worship of catacomb saints is gradually displaced from the minds of Catholics. The original and classical saints - the saint patrons of the land - come to the forefront of the faithful's interest.