Narcissism and Christianity have little in common, yet the Romantic paradigm of artistic creativity, particularly in light of subsequent Freudian ideas, has tended to foster its share of narcissism. It was the tragic fate of Narcissus that he was so preoccupied with self that he could not appreciate God, nature, or the other.

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

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.

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.

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.

Christ, as the ultimate Imago Dei is alluded to in scripture as being without external beauty in the Classical sense, and should better be thought of as one who passed through all the slime and mire of a fallen and sinful creation in order to redeem it. His own body is to be remembered for the marks it bears-even in resurrection-of the scars of his sacrificial death. For the Christian, a theory of beauty might better begin at this point.

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.