As a collection of the progression of art over the past two centuries, Smith’s inclusion of detail is very selective. The book follows from chapter to chapter as a series of facts, largely excluding the reasons behind these dramatic transitions. The only insight to the altered philosophy of the church is mention of important events and the personal testimonies of select artists or influencers. While this exclusion of important detail is disappointing, the stories of these men and women promote the book from a history text to a relevant and modern reality. The value of the good of art is recognized in these passages, as the reader is able to recognize and identify with the struggle and passion of these characters. It is within these details that the value of art in the church is revealed. Harold Best, former dean of the Conservatory of Music at Wheaton College, wrote that “[a]rt for art’s sake is a pagan idea,” a concept that began to resonate gradually with Christians, both liberal and traditional (Best 112). If art does not glorify God, then it glorifies Satan. As a whole, the book is clear about communicating this fact as it positions Christian art as a useful vehicle for promoting the gospel. While it is true that religious art does in fact preach the gospel, the book gives no indicator of how effective its involvement in the church has been since its inclusion. Since the text is biased towards art in the church, this detail negatively impacts the author’s argument, as some conservative Christians continue to doubt art’s necessity.