Meaning: The quote "The artistic taste of the Catholic priests is appalling and I am most anxious to have a Catholic church in which everything is genuine and good, and not tawdry and ostentatious" by Giles Scott, an architect, reflects his dissatisfaction with the artistic choices made by Catholic priests in the design and decoration of churches. The quote indicates a desire for authenticity and quality in the aesthetics of Catholic churches, rather than the perceived tackiness and showiness that may have been prevalent at the time.

Giles Scott was known for his work as an architect, particularly in the field of ecclesiastical architecture. His comment sheds light on the tensions and differing perspectives that can arise between architects and the religious authorities commissioning their work. It also highlights the significance of aesthetics and artistic expression in the context of religious spaces.

In the late 19th and early 20th centuries, there was a resurgence of interest in Gothic and Romanesque architectural styles for the construction and renovation of Catholic churches. This period, known as the Gothic Revival, saw a renewed emphasis on creating spaces that reflected the grandeur and spirituality of medieval European cathedrals. However, this revival also led to debates about the appropriate balance between ornate decoration and the simplicity of worship spaces.

Scott's critique of the "appalling" artistic taste of Catholic priests suggests that he believed there was a lack of discernment or sophistication in their aesthetic choices. His reference to "tawdry and ostentatious" design elements indicates a disdain for what he perceived as gaudy and overly ornate embellishments that may have been favored by some within the church hierarchy.

It is important to consider the context in which Scott made this statement. The relationship between architects and religious authorities has often been complex, with differing opinions on how sacred spaces should be designed and adorned. While architects may prioritize artistic integrity and architectural innovation, religious leaders often seek to create environments that inspire devotion and reflect the grandeur of divine worship.

Scott's desire for "a Catholic church in which everything is genuine and good" underscores the importance of authenticity and quality in the design and construction of religious buildings. His aspiration for genuine and good design suggests a commitment to creating spaces that are not only aesthetically pleasing but also spiritually uplifting and meaningful for worshipers.

In contemporary times, the debate over the artistic taste and design of religious spaces continues. Architects, religious leaders, and communities engage in ongoing discussions about the balance between tradition and innovation, the use of symbolism and iconography, and the role of art and architecture in facilitating religious experiences.

Ultimately, Scott's quote serves as a reminder of the enduring significance of aesthetics in the realm of religious architecture and the ongoing pursuit of creating spaces that are both artistically compelling and spiritually enriching. It prompts reflection on the complexities of balancing individual artistic vision with the collective aspirations of religious communities, and the quest for authenticity and quality in the design of sacred spaces.