中文简介：

本书追溯了拉斐尔前派及其亲密伙伴是如何在他们的绘画、诗歌、雕塑和建筑中将科学原理付诸实践。在他们发表的期刊《The Germ》中，拉斐尔前派致力于创造一种以科学为模式的新型艺术，在这种艺术中，精确的观察可以导致对自然和人类的发现。在牛津和伦敦，维多利亚时代的科学家和拉斐尔前派艺术家共同设计和装饰自然历史博物馆，使其如同上帝创造的圣殿。同时，《自然》和《半月刊》等期刊将自然科学与拉斐尔前派的艺术理论和诗歌相结合，在被达尔文进化论颠覆的世界观中寻找意义和一致性。本书重新解读了约翰·埃弗雷特·米莱斯、威廉·霍尔曼·亨特、但丁·加布里埃尔·罗塞蒂、福特·马多克斯·布朗和威廉·莫里斯的知名作品，对这**行的维多利亚运动进行了重大评估，还考虑了不太知名的艺术家，他们对拉斐尔前派的项目也同样重要。这些艺术家包括威廉·迈克尔·罗塞蒂、沃尔特·德维尔、詹姆斯·科林森、约翰和罗莎·布雷特、约翰·卢卡斯·图珀、奥谢兄弟，以及建筑师本杰明·伍德沃德和阿尔弗雷德·沃特豪斯。

英文简介：

This revelatory book traces how the Pre-Raphaelite Brotherhood and their close associates put scientific principles into practice across their painting, poetry, sculpture, and architecture. In their manifesto, The Germ, the Pre-Raphaelites committed themselves to creating a new kind of art modeled on science, in which precise observation could lead to discoveries about nature and humanity. In Oxford and London, Victorian scientists and Pre-Raphaelite artists worked together to design and decorate natural history museums as temples to God's creation. At the same time, journals like Nature and the Fortnightly Review combined natural science with Pre-Raphaelite art theory and poetry to find meaning and coherence within a worldview turned upside down by Darwin's theory of evolution. Offering reinterpretations of well-known works by John Everett Millais, William Holman Hunt, Dante Gabriel Rossetti, Ford Madox Brown, and William Morris, this major revaluation of the popular Victorian movement also considers less-familiar artists who were no less central to the Pre-Raphaelite project. These include William Michael Rossetti, Walter Deverell, James Collinson, John and Rosa Brett, John Lucas Tupper, and the O'Shea brothers, along with the architects Benjamin Woodward and Alfred Waterhouse.