The variety of digital communication media currently available might suggest an eclipse of printed media such as religious images or “holy cards.” On the contrary, it can be observed from the growing numbers of collectors that this typographic genre is experiencing a new season of success, which is also matched by the demand for publishing products (such as the volumes of the publishing house RBA Italia) that provide rich iconographic documentation of saints’ biographies. The reasons may be many: from a passion for small works of art to the rediscovery of popular devotion, from the revival of a hagiographic interest to the historical investigation of one’s roots. Certainly from the iconography of holy pictures one can draw information about local history and culture, reported in a direct form that, unlike the interpretations provided by printed texts, puts us in touch with the reality of yesterday, albeit filtered by the taste of the creators (authors and editors) and the sensibility of the society of which they are an expression. Santini are allegories, metaphors, emblems, visualizations of ideal prototypes, figurations of a conception of life; they contain ideal models to be imitated and had before one’s eyes in daily life, to be worn or carried on one’s person, to be placed beside the bed; they embody and personify, in the absence of real human figures, theological Christian virtues and moral precepts. Only collectible holy cards are unique objects. Santini, by nature, are serial products, the production of which has always had a large number. Also analogous to the santino is the cardboard that political candidates distribute during election campaigns. The election message passes from hand to hand and ends up in the wallets of citizens just as religious holy cards ended up in the pockets of the devout.