In the winter of 2008, a poster hung on the wall outside the sanctuary at All Saints Episcopal Church in Richmond, Virginia. In bold font with the tone of an advertisement, it read: “Raise a Renaissance Boy in the Modern World.” A close-up photo showed the face of a young choirboy—an anonymous blond any-child with his mouth open in silent song. He seemed to sing of the eternal child who resists modernity to recapture the pure human essence idealized in modern imaginings of the Renaissance. He seemed to sing of High Church and High Art, wedded, as they once were when the great artists and composers of Western culture roamed the earth.1