In 1889 the Pre-Raphaelite artist Frederic Shields (1833–1911) received a commission to paint the walls of a chapel in London. The patron, Emelia Gurney (1823–1896), was a devout Christian who envisaged a non-denominational place of worship and reflection, a place of refuge from the accelerated pace of the industrial age. The building, located just off Hyde Park in the Bayswater section of London, was designed by the architect Herbert Horne (1864–1916) and was based on Italian quattrocento ecclesiastical design. The interior walls were covered in a rich iconographical program conceived jointly by patron and artist. The pictorial narrative, painted in high Renaissance style, emphasized the theme of salvation and can be understood as a direct response to the fragmentation of religious practice and belief taking place in Britain at the time. This article is an investigation of the Chapel’s painted pedagogy. Completed in 1910, the building was bombed during the Blitz and is no longer standing.

中文翻译：

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弗雷德里克·希尔兹的升天教堂

1889年，拉斐尔前派画家弗雷德里克·希尔兹（Frederic Shields，1833-1911年）受委托为伦敦的一所教堂的墙壁粉刷油漆。赞助人埃米莉亚·古妮（Emelia Gurney，1823–1896）是一位虔诚的基督徒，他设想了一个非宗派的礼拜场所和反思场所，这是工业时代步伐加快的避难所。该建筑位于伦敦贝斯沃特（Bayswater）区的海德公园（Hyde Park）旁，由建筑师赫伯特·霍恩（Herbert Horne，1864-1916年）设计，并基于意大利的quattrocento教堂设计。内墙覆盖着由赞助人和艺术家共同构思的丰富影像程序。以高文艺复兴时期风格绘画的绘画叙事强调了救赎的主题，可以理解为对当时英国发生的宗教活动和信仰分裂的直接反应。本文是对教堂的绘画教学法的调查。该建筑于1910年完工，在闪电战中被炸毁，不再屹立。