G
GloriousOrder
Guest
I believe the greatest aesthetic style is the Baroque: in music, poetry, literature, architecture, and sculpture. 
It is very difficult to classify all Baroque churches under one style. Christopher Wren technically lived at the height of the era, but his style is vastly different from the style of Roman architects. We can see, in Wrenās cathedrals from the 1680-1720 period, a very austere, strictly-controlled language of shape and form. In churches built in Italy during exactly the same period, there is a huge explosion of sapphire, pearl, gold, and silver with bursting, free shapes and forms. The only commonality which these two āBaroqueā styles share is a classical love for symmetry, rectangular exactitude, and formality⦠though the English made it more ābareā and the Continental architects drowned the skeletal form in colour and bulging protrusions.
Compare Sir Christopher Wrenās chapel in the Royal Hospital (1680ās):
en.wikipedia.org/wiki/File:The_Chapel,_Royal_Hospital,_Chelsea.jpg
and his own renovation of St. Magnus-Martyr (1670ās):
en.wikipedia.org/wiki/File:St_Magnus_The_Martyr_Interior.jpg
with this Roman ideal of Baroque architecture from a certain basilica⦠(1650ās):
en.wikipedia.org/wiki/File:Cathedrapetri%2Bgloria.jpg
Though these are only 20-30 years removed, and in substantially the same āstyleā, there is a massive difference. We cannot reduce styles to āGothicā, āRenaissanceā, āBaroqueā, etc.
I personally prefer a mix between Romanesque austerity (to highlight the beauty of the altar of God amidst the rigid darkness of the world/sin), Renaissance symmetry/classicism (to show forth the order of the Blessed Trinity and Creation), and Baroque exuberance/brightness (to really convince the faithful that God is the Father of lights, not of sorrow and shadows).
It is very difficult to classify all Baroque churches under one style. Christopher Wren technically lived at the height of the era, but his style is vastly different from the style of Roman architects. We can see, in Wrenās cathedrals from the 1680-1720 period, a very austere, strictly-controlled language of shape and form. In churches built in Italy during exactly the same period, there is a huge explosion of sapphire, pearl, gold, and silver with bursting, free shapes and forms. The only commonality which these two āBaroqueā styles share is a classical love for symmetry, rectangular exactitude, and formality⦠though the English made it more ābareā and the Continental architects drowned the skeletal form in colour and bulging protrusions.
Compare Sir Christopher Wrenās chapel in the Royal Hospital (1680ās):
en.wikipedia.org/wiki/File:The_Chapel,_Royal_Hospital,_Chelsea.jpg
and his own renovation of St. Magnus-Martyr (1670ās):
en.wikipedia.org/wiki/File:St_Magnus_The_Martyr_Interior.jpg
with this Roman ideal of Baroque architecture from a certain basilica⦠(1650ās):
en.wikipedia.org/wiki/File:Cathedrapetri%2Bgloria.jpg
Though these are only 20-30 years removed, and in substantially the same āstyleā, there is a massive difference. We cannot reduce styles to āGothicā, āRenaissanceā, āBaroqueā, etc.