Well, a while back Mere Orthodoxy had a piece about Francis Schaeffer and Christian intellectuals. They had a podcast revisiting that topic recently.
To some degree I think the Jacobs piece may have been misread by people who thought Jacobs was potentially proposing there are no Christian intellectuals because Jacobs formulated a case that the Christian intellectual, as a subset of intellectuals as a demographic, are not a part of the public discourse. Of the various ideas proposed I think that Alastair Roberts' comment about how evangelicals need to remember that the Christian intellectuals in the post-war/mid-war era were not evangelicals as would have been defined by evangelicals either then or now; rather, Roberts pointed out that these Christian intellectuals mentioned in the Alan Jacobs piece were mainliners.
What I thought was largely skipped over entirely by the Mere Fidelity crew was (except for perhaps a short reference mentioned by Anderson) that these mainline Christian intellectuals wre addressing the state of the world in the Second World War but also, crucially, during formative decades in the Cold War. The West was still sufficiently if nominally "Christian" enough that mainline church folk could say things that a nominally Christian West would be interested in. While it's possible to propose that evangelicals withdrew or were sidelined in the later decades of the Cold War it might also be accurate to say that they were only ever marginal contributors at best to the Cold War era political and social concerns.
The role of evangelical intellectual activity in relationship to the Cold War might be likened, perhaps, to the imagined golden age of the classical guitar, which Matanya Ophee said never existed in his lecture "Repertoire Issues" from decades ago--I would suggest that an addendum to Ophee's lecture, should he ever wish to present it again, is to note that when Richard Taruskin published his massive five-volume set of books, the Oxford History of Western Music, Taruskin described the guitar as essentially outside the Western literate musical tradition. Whether it's evangelical scholars or classical guitarists looking back on a lost golden era of public influence and acclaim we might be pining for a golden age that, on more careful inspection, never actually occurred.
One of Taruskin's pet ideas for his Oxford series is to highlight the little that has been done in arts history to frame our understanding of later 20th century art and music history explicitly in terms of the Cold War and its political balkanization. Going back to about 2011 or 2010 I've been playing with the idea that there is an explicable shift in the wake of the end of the Cold War in which the residual dread of the Red threat mutated into dread of our own governments in the West. The X-Files was the kind of television program that probably could not be made and would not have been marketable in a Cold War context. I've also proposed that in a parallel way that if in the Cold War Superman made sense as America's self-image via superheroes (or Wonder Woman, to a lesser degree), Batman became the superhero touchstone as the costumed crusader whose battle was not against enemies of America but corruption within an American society itself. Of course Wonder Woman and Superman did that, too, but they're more flag-draped than Batman ... and that's a whole other set of topics.
To the extent that the Christian intellectuals who contributed ideas to public discussion about politics, liberty and traditional liberalism within a Cold War context, then to the extent that the Cold War ended and we got "the end of history" those useful contributions ran their course. Perhaps much like the government of the United States started to see less reason to fund avant garde art in direct and indirect ways once it became clear to some people that we "won" the Cold War, a whole lot of people who were more nominally Christian than evangelical/ardently observant had the luxury of casting off what was, arguably, chiefly an alliance of convenience. It's not like no one can look up the pragmatic view about whatever religion is suitable enough in a war against Communism from the Eisenhower years.
So there's all that.
As a side note, Anderson (I think) mentioned Roger Scruton as a conservative intellectual. If Scruton's worth mentioning (and I would agree he is) what about ... say ... the Future Symphony Institute? I think that FSI is leaning too hard on criticism of atonalist music at the moment even if I am 100% for preserving the Western literate musical tradition. I'm even for Scruton's idea that we should find some way to repair or bridge the breach between academic and vernacular/popular musical idioms that has grown in the last century. This would even coincide, roughly, with a trend in the musical heroes of pop music who have been lionized in death of late, namely Prince and David Bowie.
In a century in which everyone attempting to earn their avant garde credentials tried to tear up the rule book, so to speak, nobody seems in a rush to consider that there really aren't any rules left to break. It's gotten to a point where, if Kyle Gann is right, it's easier to do avant garde music than to master the frequently demanding idioms of vernacular/popular musical styles. We may be in a cultural moment where breaking the rules is far easier than manipulating and refining the rules. It may be easier to just declare sonata and fugue "obsolete" than spend a lifetime learning and manipulating the conceptual syntax of 18th century procedural development of musical ideas so that you could deploy them for a riff that might be in a James Brown or Hank Williams Sr. song than an old Austrian folk song. For that matter, a lot of music students may not even want to master forms and procedures that by now are considered obsolete or have been ill-served by pedagogical idioms that have clung to 19th century German idealism. Instead of dissecting the twelve-tone method we could go in any number of other directions--there's the just intonation/microtonal movement, for instance. What if the problem with twelve-tone music lay not merely in its methodology for material development but in the shortcomings of equal-temperament itself? Whole movements have built themselves up from that idea and if intellectuals who want to consider where music could go there's a way of saying "we chose the wrong future" than suggest that the reason German music became stale and repetitive was that half of all the thing worth doing in German music had been done by the time Haydn died.
Yeah, yeah, Scruton thinks more highly of German idealism than I happen to and an over-reliance on that kind of idealism and its attendant ideas about what qualifies as art or not within music may be one of the more obvious conundrums for Christians in the arts to consider. That so many have tried and not always succeeded in arriving at a fusion of vernacular musical vocabulary and the formal procedural modes of thematic presentation and expansion refined in the 18th century doesn't mean it isn't worth doing. It can be easy to forget that the history of those idioms entailed at least a century of steady experimentation across an entire continent. The cliché has become how to emulate a Beethoven or a Mozart but the person they were trying to emulate and beat in their own era was Haydn--we have a culture in which breaking the rulebook is more sexy than doing what Haydn and J. S. Bach did, refining existing idioms and amalgamating a panoply of existing styles, forms and idioms. If there is a realm where historically informed evangelicals could make substantial contributions to the arts you would think this would be one of those areas.
Which gets me to one of the ideas floated about Christian intellectuals and how those few who could qualify tend to be known strictly within their guild and not really outside of it. That may simply be true of intellectuals as a category and it may be fair--you have to have solved some kind of problem your guild thinks is worth solving before you can move on to address anything else.
But that's about all I have to blog about on that orbit of topics for the moment.