In January 1859 the Scottish figure painter Joseph Noel Paton attempted a breakthrough as a sculptor by entering the first design competition for the National Wallace Monument in Stirling. Backed by his fellow Royal Scottish Academician George Harvey, Paton's monumental sculptural design of the Lion and Typhon was selected. The ensuing public furore focused on the sculpture's aesthetic unsuitability to the Abbey Craig site, its ambiguous symbolism and, by inference, its probable referencing of heraldic grievances orchestrated by the National Association for the Vindication of Scottish Rights in the mid-18505. By March 1859 the Monument committee had rescinded its original decision. Following the second competition in July 1859, the Glasgow architect J. T. Rochead (an unsuccessful competitor in the first round) secured the definitive architectural commission. This article explores the complex cultural and political environment which Paton and Rochead both had to negotiate.
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机译：1859年1月，苏格兰人物画家约瑟夫·诺埃尔·佩顿（Joseph Noel Paton）作为雕塑家，尝试通过参加斯特灵国家华莱士纪念碑首次设计比赛而取得突破。在他的皇家苏格兰院士乔治·哈维（George Harvey）的支持下，选择了佩顿（Paton）具有纪念意义的雕塑《狮子与Typhon》。随之而来的公众关注焦点集中在该雕塑的美学上不适合Abbey Craig遗址，其模棱两可的象征意义，并据此推断可能是参考了18505年中期苏格兰国家维权全国协会精心策划的纹章申诉。到1859年3月，纪念碑委员会已撤销其最初决定。在1859年7月的第二场比赛之后，格拉斯哥建筑师J. T. Rochead（第一轮的失败者）获得了最终的建筑委员会的认可。本文探讨了Paton和Rochead都必须谈判的复杂的文化和政治环境。
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