The Bohemian late baroque was among the richest and most original artistic periods in the history of 18th-century Europe. The initial predominance of Italian taste, French stylistic elements, and the proximity of Vienna resulted in a harmonious and heterogeneous blend of forms that was unique in Europe. Prague again rose to rank among the most lively and dynamic cities, and its architectural verve was reflected in several important undertakings, from the domes of churches to new noble palaces and finally to major complexes, such as the sanctuary of Loreto.

The architectural face of the city and its region was in large measure a result of the work of a family of architects - the Dientzenhofers - whose creations are characterized by an insistent use of curving lines and complex plans composed of spatial cells derived from Guarini. Around 1700, they were responsible for the last great flowering of baroque ecclesiastical architecture.

Of particular importance were the churches of St Nicholas in the Little Quarter (Mala Strana) of Prague and St Margaret at Brevnov, near Prague, both works by Christoph Dientzenhofer. These two splendid churches present similar forms derived from the application of Borromini and Guarini principles, such as spatial juxtaposition and the large curved cornice on columns or pillars, also known as the `Dientzenhoferian motif’. The churches by Dientzenhofer are composed of oval cells that interpenetrate following lines of expansion or contraction - a system called spatial syncopation or syncopated interpenetration - combined with the Central European system of mural pillars, which expresses the aspiration for strong plastic and spatial integration, while the external walls are generally treated as neutral surfaces. The space is presented as an ‘open’ system to which it is possible to add cells at will, following the principle of ‘pulsating juxtapositions.