This essay examines the multiplicity of ways the building and decoration of the American church of St. Paul’s Within-the-Walls in Rome signaled the dawning of a “new age,” politically and spiritually, as the first Protestant church constructed within the city of Rome, initiated immediately after the city was freed from papal rule in 1870. The mosaics, designed by Pre-Raphaelite artist Edward Burne-Jones and completed with the help of his assistant Thomas Rooke in the decades that follow, present Christ, and the Church in particular, as sources of divine sustenance and verdant life in the barren wilderness of this world. But it is the splendor of their design and the material magnificence of the mosaics themselves that create the first powerful and most lasting impact. Viewed through the lens of what P. T. Forsyth described as the “preternatural imagination” of Burne-Jones, these mosaics are distinctly contemporary works deeply rooted in religious and artistic tradition that address the transitional times for which they were made.

中文翻译：

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罗马“美国教会”马赛克中的爱德华·本恩·琼斯的神性准备和“超自然的想象力”

本文探讨了罗马圣保罗大教堂的美国教堂的建筑和装饰在政治上和精神上标志着“新时代”的到来的多种方式，这是该市内建造的第一座新教教堂。罗马，始于1870年罗马教皇统治之后。该马赛克是拉斐尔前派画家爱德华·伯恩·琼斯设计的，并在其后的托马斯·罗克的助手托马斯·罗克的协助下完成，随后呈现了基督和教堂尤其是在这个世界贫瘠的荒野中作为神圣的寄托和青翠的生命的来源。但是，正是它们的出色设计和马赛克本身的材料宏伟才产生了第一个有力和最持久的影响。通过什么PT的镜头看