Whether a Christian enjoys high church, low church, or something in between, aesthetics in the Church are not about any one individual person and their particular tastes. Aesthetics are, fundamentally, not a matter of legalism, but of edification—that the Gospel of Christ might be preached and taught to all peoples, unhindered by its medium.
Let us live by walking with Jesus, so that our Neo-Pagan neighbors, the witch, and frankly a lot of us Christians, can put down our crystals, our superstitions, our vision boards, and our bound sage in order to live out a liturgy of life, with rituals, practices, and behaviors that reflect who we are as followers of Christ.
As Jesus hung on the cross there would be no last second escape. No Greek goddess would swoop in to rescue him. He suffered alone. And yet even in that suffering he declared his victory on the spiritual battlefield to be your victory.

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How will they reach this magical moment, this milestone on the journey of life? Perhaps by chasing their dreams, pursuing their passions with a heart wholly devoted to the attainment of whatever goals they set for themselves in life?
If you haven't seen this video clip yet (and even if you have), it's worth watching (again) regardless of your taste for Colbert's style of humor. In it, he trounces the typically smug fundamentalist-turned-liberal Bible scholar Bart Ehrman, who is so used to being fawned over by members of the media that Colbert's defiance leaves him at a near loss for words.
The wine of communion is a gift from God and the blood of Christ we receive at the rail an inebriant that encourages and frees us.
Which makes the question of prudence worth asking again: given the recent and strong Catholic attempts to defend a broad religious liberty, why all the implicit and explicit swipes at their potential Protestant allies?
What we confess concerning a corpse confesses much about how deep, or how shallow, is our understanding of the importance of the incarnation of Jesus, his death, and his (as well as our own) resurrection.
In an essay last year over at The Public Discourse, Philadelphia Archbishop Charles J. Chaput quite rightly noted that the legacy of the sixteenth-century Catholic statesman Sir Thomas More matters greatly—and matters, as he emphasized, “right now.”
Even putting to the side More’s purposes in the writing of Utopia, and Bolt’s in composing A Man for All Seasons, certain contexts pertaining to each are revealing.
A cemetery is a hard place to confess because the cemetery itself seems to confess, “You, O mortal, have lost.”
But this dying world is still the world of our living God, who graces us with tokens of a final renewal. As leaf subsides to leaf, and frost to snow, and snow to ice, there comes a day when the gold of nature sprouts anew.
For out of the mouths of these opposition forces, gathered on enemy turf, comes the defiant declaration of death’s undoing: “Christ is risen! He is risen, indeed!” An audacious act it is, to march smack dab into the middle of a place that screams, “Dead!” and to sing, “Alive!”
This is the night when the earth is formless and void; and the darkness of blood is over the face of Thy Son. And the Spirit of God moves out of His body as He gives up the Ghost.
When Jesus was baptized, his Father’s voice fell from heaven, proclaiming, “You are my beloved Son, whom I love; with you I am well pleased,” (Mk 1:11). But there in the wilderness it did not seem so, did it?