I’ve been puzzled and amazed for years by Paul’s “creation awaits” passage in Romans 8:19:
For the expectation of the creature waiteth for the revelation of the sons of God. 20 For the creature was made subject to vanity: not willingly, but by reason of him that made it subject, in hope. 21 Because the creature also itself shall be delivered from the servitude of corruption, into the liberty of the glory of the children of God. 22 For we know that every creature groaneth and travaileth in pain, even till now.
Human sin made all creation futile and vain. Ecclesiastes explains one aspect of this vanity, but Paul’s explanation is more radical: whereas Ecclesiastes explains the vanity of nature as something simply found (we simply fall into a world where we are subject to chance and all things are placed in time) Paul sees sin as effecting a real change in creation as such. Man has made creation futile- not because he made it something else, but because he failed to make it what he ought. We failed to order things around us to the divine. This means, first of all, that human beings failed to make good art, or at least they failed to make a certain kind of good art. Nature depends on man to be exalted to divine service, so much so that our failure to so exalt it, Paul claims, renders nature itself vain, useless, and meaningless.
In one of those coincidences that provides a teachable moment, today marks both the feast of the dedication of the Lateran Cathedral and the fall of the Berlin wall. I can’t image a better example of art that nature “awaited with eager anticipation” as compared to art that “subjected the creature to futility”. The Lateran was a family palace that was handed over to divine worship, becoming the seat of a spiritual, temporal, and (by all appearances) eternal power. The basilica is lofty, dignified, and ennobling, and inside confessions are heard in languages from around the globe as a testament to the a truly international character of the institution that the basilica instantiates. The Berlin wall is also a monument erected by an institution that saw itself as having an international character, and yet the wall was a grotesque, ashen, morbid colossus, built in a cheap, slapdash fashion by men beholden to a ridiculous 19th Century philosophical movement that saw the critique of religion as the foundation of all critiques (with “critiques”, of course, being seen as the foundation of all thought). The city behind the wall was of the same quality, in keeping with the anti-aesthetic of Communism.