Who is one's audience, the spiritually hostile professional art world or one's visually insensitive Christian neighbour?

Begbie offers an additional valuable contribution by rejecting the traditional emphasis on beauty, in its Platonic sense, and instead suggesting that beauty be reconceived in Christological terms-as disorder redeemed.

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.

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.

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.

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

Redemption in Christ should give the artistically gifted not only a new orientation and a new sense of purpose, but also a new vision of reality, seeing the world through the eyes of faith, looking at the human condition through the eyes of Christ.