It lacks of simplicity, earnestness, and repose is evident, while its obtrusive artificiality, unnaturalness, and triviality have a distracting effect. Its softness and prettiness likewise do not become the house of God. However, shorn of its most grievous outgrowths, it may have been less distracting during its proper epoch, since it then harmonized with the spirit of the age. A development of Baroque, it will be found a congruous decoration for baroque churches. In general it makes a vast difference whether the style is used with moderation in the finer and more ingenious form of the French masters, or is carried to extremes with the consistency of the German.
Rococo is indeed really empty, solely a pleasing play of the fancy.
The Rococo style accords very ill with the solemn office of the monstrance, the tabernacle, and the altar, and even of the pulpit. The naturalism of certain Belgian pulpits, in spite or perhaps on account of their artistic character, has the same effect as have outspoken Rococo creations. The purpose of the confessional and the baptistery would also seem to demand more earnest forms. In the case of the larger objects, the sculpture of Rococo forms either seems pretty, or, if this prettiness be avoided, resembles Baroque. The phantasies of this style agree ill with the lofty and broad walls of the church.