A Personal Response to a Public Commission: William Calder Marshall's Gospel of St Matthew Panel at St Paul's Cathedral
A Personal Response to a Public Commission: William Calder Marshall's Gospel of St Matthew Panel at St Paul's Cathedral
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对公共委员会的个人回应：威廉考尔德马歇尔在圣保罗大教堂的圣马太福音面板
DOI：
10.1093/jvcult/vcac024
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发表时间：
2023
影响因子：
0.3
通讯作者：
Coughlan M
中科院分区：
文献类型：
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作者：
Coughlan M
1857年夏天，威廉·考尔德·马歇尔（William Calder Marshall，1813-1894）作为当时最杰出的雕塑家之一，其设计的惠灵顿国家纪念碑在一次广为宣传的竞赛中获得第一名，奖金为700英镑（今天约为8万英镑）。在当时和之后，关于阿尔弗雷德·史蒂文斯获得纪念碑的实际委托以及史蒂文斯为完成纪念碑而奋斗的叙述轨迹，已经写了很多。[1]对于考尔德（Calder）马歇尔（Marshall）和威廉·伍丁顿（William Woodington）的三块墙板的委托，人们的关注较少。伍丁顿在设计竞赛中获得了第二名，这是安慰奖，也许也是一年多来不断游说的结果，以推动竞赛结果通过委托。本文重点介绍考尔德马歇尔的圣马太福音小组，在1863年完成。他的《约伯记》、《公义》和《信仰》展板以及《伍丁顿的创世记》和《圣路加福音》展板都在这个“雕塑与信仰”圆桌会议的其他地方进行了研究。考尔德马歇尔在他自己的日记中摘录了这些努力的年表，并在1858年11月30日收到了一封"工程委员会的信，信中说我的估价正在考虑中“。[2]他在几天前，即11月25日的记录中，第一次提到了这些小组：“收到了工程委员会关于圣保罗法院救济的通知。估计是2500英镑。[3]这份笔记特别有趣，因为他后来将英国化的法语“bas reliefs”（浅浮雕）调整为意大利语“relievi”（意为“rilievi”）（这可能也解释了rilievi的拼写错误），特别是考虑到他在罗马的两年（1836年至1838年）对圣马太小组的影响。圣马太嵌板（图1）代表了圣马太福音第8章中的一个时刻，当时一个百夫长寻找刚刚到达迦百农的耶稣，恳求他治愈他的仆人，说他的话足以带来奇迹：
In the summer of 1857, the general renown of William Calder Marshall (1813–1894), as one of the preeminent sculptors of the day, was cemented, when his design for the national monument to Wellington was placed first in a widely publicized competition with a£ 700 prize (some£ 80,000 today). Much has been written, both at the time and since, about the ensuing trajectory of the narrative that saw Alfred Stevens awarded the actual commission for the monument and Stevens’s struggles to see it through to completion. 1 Less notice has been paid to the commission of three wall panels each, awarded to Calder Marshall and to William Woodington, who came second in the design competition: consolation prizes, perhaps also a result of more than a year of constant lobbying to push the competition result through to commission. This article focuses on Calder Marshall’s Gospel of St Matthew panel, completed in 1863. His Book of Job and Righteousness and Faith panels and Woodington’s Genesis and Gospel of St Luke panels are each examined elsewhere in this ‘Sculpture and Faith’roundtable.In his own chronology of these efforts, extracted from his diaries, Calder Marshall ends with the receipt, on 30 November 1858, of a ‘Letter from Board of Works stating that my Estimate is under Consideration’. 2 His entry for a few days earlier, on 25 November, is the first mention of the panels:‘Had communication from Board of Works for bassi relievi [sic] for the Consistory Court of St Paul [’] s. Sent in estimate£ 2,500’. 3 This note is particularly interesting for his later adjustment of the anglicized French ‘bas reliefs’ to an Italianate ‘bassi relievi’(which probably also explains the misspelling of rilievi), especially in light of the influence on the St Matthew panel of his two years in Rome from 1836 to 1838. The St Matthew panel (Figure 1) represents the moment in St Matthew’s Gospel chapter 8 when a centurion seeks out Jesus, who has just arrived in Capernaum, begging him to heal his servant, saying that his word would be enough to bring about the miracle: