My first Schoeps mikes were the three-pattern type, and for a long time I fantasized switchable-pattern capsules with other choices of patterns, e.g. nowadays I might want their "open cardioid" (MK 22 equivalent), cardioid and supercardioid, all side-facing--like going to an ice cream stand and ordering a three-scoop cone with different flavors. Which it's not actually like, but I fantasized.
Any one directional pattern supports certain choices of strategy in terms of how you represent location and space in the stereo playback, while depriving you of other options. Which options you can fully utilize and consider essential, vs. which ones you're willing to give up because they don't offer you as much value, are a personal matter; as a result, I don't see how anyone can truly answer this question for anyone else. It's not just "which approach to stereo recording do you like"--it's also "which approach are you prepared to use to the fullest?" A lot depends on how you listen to recordings and what qualities you strive for in them--with your conscious and unconscious mental processes being at least as important as the playback system.
Or perhaps, due to the fact that we develop as human beings over time, this question isn't even answerable for one's own self. When I was in my thirties I thought that a stable stereo image and clear localization were, like, absolute requirements, and any recording that didn't have them (e.g. most spaced omni recordings) were more or less of a swindle. I mostly wasn't getting the beauty of tone that I wanted, but I thought that the sacrifice was appropriate and necessary. As I got older I became more of a would-be hedonist, and incorporated that outlook into my recording techniques. Thus my repertoire of approaches to stereo recording widened. My old CMT 56 three-pattern microphones were/are wonderful, and are probably the "most nearly correct" answer to the original question as far as I'm concerned--but I would never want to give up my Colette MK 22 or MK 41 V setups, or the MSTC (ORTF stereo microphone) that I've used for so many documentary sound recordings. And if I owned a sphere stereo microphone I would probably cling to it as well (I've heard some Mahler recordings that Jerry Bruck made with one of those; they're everything I want from my own recordings).
Call me spoiled (and you'd be right), but there's truly no one microphone or microphone pattern or microphone arrangement that I'd be content to limit myself to any more. On a desert island, what would I need microphones for anyway?