Paintings

The Altarpiece

The main part of this large composite painting depicts Christ as Salvator Mundi flanked by the Virgin and Child and Saints Catherine and John the Baptist.
Below, and on a smaller scale, is a scene showing the deposition from the cross.

Saints and Apostles

The panel represents Christ as the central figure: Catherine of Alexandria, Matthias, Thomas, Simon, John the Evangelist, Christ, Peter, Anthony, James the Less, Paul (?) and Ninian/Marnock(?).

St Marnock's Church contains the only surviving example in Scotland of a rood loft painting in the form of the scene at the Crucifixion. There is written evidence of one other such painting from a 17th century description of Elgin cathedral, but this was destroyed in 1640.

This magnificent piece, some 4m long, is stunning. The clue to its original position lies in the absence of paint in the top corners: the curved edge of the painted surface clearly shows the ‘ghost’ outline of a barrel-vaulted ceiling. Where many churches had an actual cross or crucifix gracing their rood-lofts, St Marnock’s had this full-scale crucifixion scene, filling the whole space between the balcony and the roof. The impact on the congregation (it’s assumed that it faced down the nave, not into the chancel) must have been astounding (see Rood Screen).

Some of the figures are now truncated, but everyone of importance features in this busy scene, from Christ on the Cross to the two thieves on either side and the Mother and friends at his feet. There are soldiers on foot and on horse-back, and all the presiding officers are present: the centurion, his ‘speech scroll’ proclaiming ‘Truly this was the son of God’, the high priest (with a smug expression and a red nose) clutching the arrest warrant, and even a pensive-looking Herod, though the Bible doesn’t actually say he was present. Nor does the Gospel mention blind Longinus, who pierces Christ with his spear and, having received a drop of blood in his eye, sees the light in both senses; but his role is crucial in terms of both interpretation and composition.

The Crucifixion

A group of detached panels depicting portrait heads; these are in the same style as, but not necessarily from, the Crucifixion (documentary evidence suggests that other panels have been lost).