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4 This hiving off of religious subject matter to an increasingly specific place in the genre was, one might argue, both similar toandpartofabroadersecularisingprocesswhichwasalready operating to relocate worship, theology, even belief itself, to a more discrete and implicitly marginal place in Victorian culture. ’8 Hedged about by such constraints, it is unsurprising thereforethatVictorianpaintingsofreligiousthemes,although possessing,aswehaveseen,anexplicitifdiminishingroleand status,alsohadnoreallysignificantmarket.
31 Even today Soviet newspapers and television newssometimescarrypicturesofyoungconscriptsenroutefor Chechnyafilingpast,andkissing,areplicaofthe‘Vladimir’icon profferedbyanOrthodoxpriest. 32 four dimensions Such an argument may provide a powerful and pessimistic counterpoint both to facile aesthetic progressivism (not unknown,forexample,insomecontemporaryclericalcircles)and to the fashionable Jungian heresy (held by some theologians and artists alike) that ‘the archetypes by which spiritual realities express themselves are both available to modern man and constantlyclothedintheformsofmodernart’.
Inpracticethetransformation ofthegenretookthreedistinct,ifofteninterlocking,forms. Suchreligiousartasthisnotonlyfusedwith butreaffirmedsecularbourgeoismorality. ’17 This conscious dismantling of the formal barriers between the sacred and the secular as legitimatesubjectmatterfora‘religious’painting–evenifitwasto degenerateultimatelyintoartworkswhichdidlittlemorethan eitherportrayacovertlyreligiousthemeinanovertlyreligious setting (‘Contemplation’ was a typical title) or depict religious activityperse(‘HerFirstSermon’or‘LateforChurch’)while makingnocredalstatementwhatever–wasaclearindicatorof therelativelyuncertainpassageoftheprocessofsecularisation alreadymanifestingitselfinthisparticularculture.