Put crudely, one is left with a choice between two unsatisfactory combinations: artistic integrity married to spiritual compromise; and spiritual integrity married to artistic banality-or, worse, art compromised on both counts. Neither one will satisfy those who recognize the fundamental necessity of integrity in both faith and art.

Beyond a narrow, elite audience, there is a pervasive sense from the side of the public that much contemporary art fails to connect - a failure not evident throughout centuries of earlier art.

Postmodernism has not overcome the problems of modernism, but only compounded them with a dosis of cynicism, relativism and indifference.

In this same tradition, beauty is inextricably bound up with the principles of order and harmony believed to underlie the cosmos. Artists in the Classical tradition, inspired by Platonic idealism, strove to create images that represented not the world of particulars-with all its defects-but an ideal image conceived in the mind, which was taken as representing some absolute, pure, ideal form of which all particular, material forms are but a mere shadow.

Advertizing, television and film all wield mighty powers to visually seduce us, while much fine art leaves us indifferent, confused or, at worst, repulsed. There is a desperate need for creative Christians to redeem the visual arena from both forms of excess, cutting through all the false glamour, tawdry baseness and dense obfuscation.

In as much as Christ's mission was to bring all things into submission to God, and to restore not only humanity, but also the whole creation to its proper purposes, to make straight what is crooked, and to redeem both humanity and the creation from the curse of sin, then herein can be found the possibility for a full and wholesome realization of human artistic activity.

The cumulative effect of the Romantic theory of creativity, as played out in the context of belief in the virtue of the avant-garde, is that while the art world has effectively freed itself from the tyranny of artistic tradition and its historic patronage system, it has ended up inhabiting an autonomous but perceived irrelevance.