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t one point during his 2000 campaign, George W. Bush gave his listeners a folksy admonition: “Don’t be takin’ a speck out of your neighbor’s eye when you got a log in your own.” This amused Frank Bruni of the New York Times, who called it “an interesting variation on the saying about the pot and the kettle.” Bruni’s words in turn amused the substantial portion of Americans who knew that Bush was actually quoting Matthew 7:3. To them it was simply unimaginable that someone could graduate Phi Beta Kappa with a degree in English and subsequently study at the Columbia School of Journalism, as Bruni did, without having once encountered the Sermon on the Mount. The anecdote revealed the extent to which, in the space of a few generations, America went from habitual Bible reading to biblical illiteracy, and of the most abject and utter kind. This is the justification for the Museum of the Bible.

The Museum of the Bible, which opened in Washington, D.C., in November, is an enterprise of appropriately pharaonic ambition. At a capacious 430,000 square feet, it cost half a billion dollars to build, all of it contributed privately. It is the brainchild of Steve Green, the president of Hobby Lobby, the chain of arts-and-crafts supply stores that successfully challenged the contraception mandate of Obamacare. Indeed, to those who felt the Burwell vs. Hobby Lobby decision was a catastrophic setback to the separation of church and state, the coming of the Museum of the Bible seemed nothing less than the physical manifestation of that threat—an unwelcome expression of evangelical political power standing in plain sight of the Capitol. Burwell vs. Hobby Lobby has loomed large in the coverage of the museum, as has the Green family—as well as the $3 million fine levied on Hobby Lobby for illegally importing cuneiform tablets from Iraq.

Immense bronze panels inscribed with the opening lines of Genesis. Photos by Alan Karchmer

But those who looked forward to exposing the museum as a bigoted and ignorant enterprise, with a laughably literal view of biblical truth, have been bitterly disappointed. Its exhibitions are conspicuously even-handed and scholarly, and not at all sectarian. The Museum of the Bible is no vehicle of theological indoctrination. If anything, it errs in the other direction. When it was first incorporated as a nonprofit organization in 2010, it pledged itself “to inspire confidence in the absolute authority and reliability of the Bible.” It has quietly lowered its sights since, and now seeks only “to invite all people to engage with the history, narrative, and impact of the Bible.” This makes the museum less objectionable (who can object to an invitation?), but a less incendiary Bible is also a less interesting one. The danger of the Museum of the Bible is that by sidestepping the question of biblical truth it might downgrade the Good Book, as it were, into one of the Great Books.

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ith all their resources, the Green family might easily have commissioned a celebrity architect to build a prodigy of a museum. But they did not want a building that would compete with its contents. Instead, they bought a 90-year-old cold-storage warehouse two blocks south of the Mall, and into its windowless brick shell they inserted six stories of exhibition and administrative space. The interior is intelligently planned but hardly remarkable, and nothing about its materials, finishes, or details speaks of the Bible or antiquity. If anything, it has the glossy impersonal cheeriness of contemporary hotel architecture.1

The heart of the museum is in the exhibitions of the third floor (The Stories of the Bible) and the fourth (The History of the Bible). These are utterly different in texture and tone, but they work in tandem—one delivering sensation and the other information. This is hardly a new distinction; it is the difference between the stained-glass window and the sermon.

The Stories of the Bible are told through crowd-pleasing “immersive” galleries—the fashionable term for displays in which a coordinated battery of sound effects, musical cues, dramatic lighting, and moving forms are combined to induce an overwhelming sensory experience in the viewer. These were devised by BRC Imagination Arts, a design firm that specializes in corporate branding—as they put it, in “creating emotionally engaging experiences that generate lasting brand love.” When it comes to emotionally engaging material, the exhibits Genesis and Exodus offer at least as much as the Heineken Experience (another recent BRC creation) and here the designers have outdone themselves. Noah’s Ark presents “a unique, stylized representation of the great flood, they tell us.”
“Stacks of boxes tower over them. Inside each box are artistic representations of animals—two by two—lit by flickering candlelight. Guests hear the raging of the storm outside and the creaking of the wooden ship.”

Somewhat later, although not until they have seen “a hyssop bush bursting into flames from the story of Moses,” visitors themselves can part the Red Sea, or an abstraction thereof, created by a web of taut metal cables shimmering under blue light. (It is curious how the highly cinematic events of the Hebrew Bible lend themselves to abstract expression.)

By contrast, the World of Jesus is rendered in literal terms, by means of a realistic re-creation of a first-century village complete with actors in period costume. In the Galilee Theater, visitors can watch a short film and see John the Baptist confronting King Herod (as played by John Rhys-Davies). Even those of us who are allergic to historic reenactments will see that it is carried through with extreme competence and attention to detail. What is there is done well; it is what is not there that has caused a good detail of quiet grumbling. To the bafflement of many, the central events of the Christian Bible—the Crucifixion and Resurrection—are not represented. Were there fears that a scene of unspeakable horror would disturb the museum’s upbeat, family-friendly ambiance? Or is it that its academic advisors come from the mainstream of contemporary Biblical studies, for whom the Resurrection is not a truth but a trope? Perhaps both factors are at play.

Another curious aspect of the display, though unhappy, is understandable: The Hebrew and Christian Bibles are rendered as two segregated and self-contained experiences, and like oil and vinegar, the exhibition paths are not allowed to mix. Unfortunately, the visitor who has waited for the one is unlikely to stand in line again for the other. One can appreciate that the organizers wanted to avoid a linear sequence in which the Hebrew Bible serves as mere prelude to the New, but in the process, the relationship between the two is lost. Surely a compromise might have been found, perhaps with the occasional physical passage between the two, so that the viewer might move back and forth and make his own connections—alas, a proposition that is heretical in today’s world of manipulative museology.

If the third floor gives us the stories in the Bible, the fourth gives us the book itself—not only the text itself but its translations, copies, orthography, printing, binding, illustrations and all else that is associated with a literary artifact. The oldest objects here (although of disputed authenticity) are tiny fragments of the Dead Sea Scrolls, and from them to the most recent translations, one is struck by the fastidious probity with which the text was transmitted. Here we learn the high stakes of tampering with the Bible in the story of how the 14th-century theologian John Wycliffe was posthumously excommunicated for daring to make the first English translation. We also learn how the Bible acted to codify and order regional dialects into a national language; Martin Luther’s translation did this for the German language just as the King James translation did a century later for English. A remarkable display shows the innumerable phrases from the Bible that have entered vernacular speech in the world’s languages, some of which I did not know (e.g., “den of thieves,” “suffer fools gladly,” “at their wit’s end,” etc.

Here one senses a certain reservation—a curatorial suspicion, perhaps, that vellum manuscripts and printed books are intrinsically boring. There is nothing an exhibition designer fears more than a bored visitor. This would account for the rather plaintive effort to provide visual relief in the form of arresting objects: a facsimile of the Liberty Bell with its inscription from Leviticus, a tableau of books burned by the Nazis, and statues of Galileo and Isaac Newton. These diversions suggest that the designers did not trust the words themselves and their hotly disputed variants and interpretations to generate interest on their own.

This is a lost opportunity. For instance, the history of the English translations would have been far more effective with a comparison of representative examples. One might illustrate various renderings of the 23rd Psalm, juxtaposing the lapidary King James version (“The Lord is my shepherd; I shall not want”) with the explanatory translation of the International Standard Version (“The Lord is the one who is shepherding me; I lack nothing”) or the willful flatness of the Good News Bible (“The Lord is my shepherd; I have everything I need”). A few examples from the recent push to purge the Bible of any and all sexist language would also have been eye-opening. To refer to this trend blithely in passing, as the wall labels do, without confronting the viewers with the sobering reality of a gender-neutral Bible is a sign of either haste or indifference.

And for those who are not fascinated by the fact that the neuter possessive its appears just once in the entire King James translation, they still have the chance to take a peek at Elvis Presley’s personal copy of the Bible.

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he truth is, the Museum of the Bible is as innocuous, gregarious, multifaceted, and congenial an institution as one might have hoped. It certainly does not preach biblical inerrancy; the attentive reader will see that Noah’s flood is anticipated by the much older flood story in the epic of Gilgamesh, complete with divine instructions on building the ark.

Nonetheless, the museum has been greeted with extraordinary hostility, although of a strangely unfocused sort. It has hardly been “dogged by scandal,” as Business Insider charged, apart from the importation of antique materials with a false provenance (something of which the Metropolitan Museum of Art and the Getty Museum have both been guilty). The real objection is not its business practices or its theology (which it wears so lightly as to be invisible), but rather that it comes from the wrong side of the cultural tracks. One has the sense that the museum is a social faux pas, that the wrong guests have crashed the party, blundering uninvited into Washington and violating rules of which they are ignorant. CityLab, the digital magazine of the Atlantic, expressed this attitude most pithily when it called the museum “pure, 100 percent, uncut megaplex evangelical white Protestantism…megachurch concentrate.”

A display showing the many biblical phrases that have entered common speech Photos by Alan Karchmer

The charge that the museum presents a narrow and exclusively white version of Protestantism is undercut by a single visit; the audience is comprehensively ecumenical and international. But it has been repeated endlessly nonetheless, in part because of the recent publication of Bible Nation: The United States of Hobby Lobby, by Candida R. Moss and Joel S. Baden—a furiously ambitious attempt to discredit the museum, its theology, its founders, and Hobby Lobby itself. (This may be the first time a book has been published condemning a museum before it was built.) Moss first came to public attention in 2013 with The Myth of Persecution: How Early Christians Invented a Story of Martyrdom, which charges early Christians with forging accounts of their suppression. Bible Nation is written in a similarly debunking spirit. For her, the “thousands of fragments of contradictory material” in the Bible make it pointless to try to make of it a coherent or meaningful document. The insights of contemporary biblical scholarship, she says with conspicuous exasperation, ought to be “a faith killer.”

Clearly they have been for her. But if anything, the museum’s fourth floor testifies to the opposite: This is a building built by believers for whom the analysis of the materials contained within is a noble task. The curators have taken painstaking efforts to get it right, as did those scribes who through the millennia worked to reconcile the discrepancies, to choose among the contradictory variants the ones that are most rigorously supported. And where the conflicting documents are irreconcilable—as between the two opening chapters of Genesis, or between the four Gospels—the procedure has always been to preserve multiple sources rather than impose an arbitrary uniformity. In the end, the Museum of the Bible pitches it about right.

A facsimile of the Liberty Bell with its inscription from Leviticus.
Photos by Alan Karchmer

Its greatest surprise is that it makes no truth claim. The central propositions of the Hebrew Bible (God’s covenant with his chosen people) and the Christian Bible (Christ’s Resurrection) are subordinated to the existence of the Books that carry those propositions. One might imagine that a museum devoted to other monumental culture-shaping books, say The Iliad and The Odyssey, would look similar in approach.

And of course they are right to have done so. The place to make claims to the truth in these cases is a church or synagogue, not a museum. But even the lesser claim that the Museum of the Bible makes, that the Bible is a foundational document of our civilization, is to many an unwelcome one. And as biblical ignorance grows, the claim grows progressively more unwelcome. The Bible seems to be one of those books that the less people know about it, the less they like it. And for those who know it only as a “Bronze Age document” (one of Christopher Hitchens’s favorite epithets) and from some of the livelier passages in Leviticus, it is an offensive absurdity.

Writing in the Washington Post, the novelist and art historian Noah Charney asserted that “in Washington, separation of church and state isn’t just a principle of governance, it’s an architectural and geographic rule as well.” It’s unclear who established such a rule, and in any case, the “principle” of the “separation of church and state” does not originate in the Constitution. Rather, its source is to be found in Matthew 22:21: “Render therefore unto Caesar the things which are Caesar’s; and unto God the things that are God’s.” We all carry a stock of mental habits and moral values, and a language with which to express them, that ultimately derives from the Bible, whether we have read it or not. The Museum of the Bible merely proposes that we read it. And for all its shortcomings and missed opportunities, and all its fits of cuteness (there’s a Manna Café), it does so with refreshing sincerity and surprising effectiveness.


1 The building has one passage of real brilliance. The entrance portal on Fourth Street is flanked by a pair of immense bronze panels, nearly 40 feet high, that call to mind Boaz and Jachin, the mighty bronze pillars that guarded Solomon’s Temple.  In fact, they are panels of text inscribed with the opening lines of Genesis, as printed in the Gutenberg Bible of 1454, the first mass-produced book to use moveable metal type.  The letters are reversed, confusingly, until one realizes that this aids in making souvenir rubbings that themselves embody the printing process.  The genesis evoked here is that of universal literacy and the cultural transformation wrought by the printed book.

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