Artworks at the Cathedral

This monumental work consists of two closely integrated elements: a richly carved reredos and the sculptural marble relief set behind it.

The reredos was designed by Sir John Oldrid Scott, son of the architect of St. Mary’s Cathedral. Made of alabaster and coloured marble, carried out in a Gothic style, the reredos consists of two layers of trefoil arches (arches with three rounded lobes) within a large pointed central arch. The back layer creates three openings by using red marble columns, providing a framework for the sculptural relief by Scottish sculptor Mary Grant. Carved in white Carrara marble, the relief depicts the moment between two of Christ’s final statements on the cross: “It is finished” and “Father, into thy hands I commend my spirit.”

The foreground figures are around four to five feet tall, giving the scene an almost life-sized presence. At the centre, Christ is hanging on the cross, crowned with thorns, and surrounded by his most faithful followers. To his left, the Virgin Mary stands with her arms crossed and eyes closed, silent in grief; beside her, Mary, wife of Cleophas, gazes upwards with faith.

On the right, calm and dignified, stands Saint John, looking at the viewer. Behind him is the soldier who was healed by Christ’s blood. Sitting at the foot of the cross is Mary Magdalene, grateful for the mercy shown to her as a forgiven sinner.

In the background and under the side arches, the scene widens. To the right, the Good Centurion stands in full Roman armour, holding a long spear, while another soldier stands just behind him, crossing his arms and absorbing the gravity of the scene. To the left, the mocking priests are shown in debate.

The background, carried out in lower relief, contains soldiers drawing lots for the garment of Christ, onlookers of the Crucifixion, a shepherd and his sheep, hills, rocks, trees, and grasslands. Visual elements of Jerusalem, including its walls, set the scene in a historic and sacred geography of the Holy City. On each side of the reredos is a statue of a Scottish saint: Saint Columba (left) and Saint Margaret (right), adding national resonance to this universal story.

Altarpiece I, painted by Sir Robin Philipson, is part of his series of Mexican Altarpieces. This painting was completed in 1971 and has been on display in the cathedral since 1972. Religious iconography was a common subject for Philipson as he produced a series of paintings on French cathedrals starting in the late 1950s and Venetian churches in the 1970s. The iconography of Mexican Altarpieces was inspired by his time teaching in the United States and exploring North America, with one of his most memorable trips visiting New Mexico. The church that inspired this output, El Santuario in Chimayo, houses the altarpiece that is featured prominently in this work.

The windows, which project dazzling colours over the Resurrection Chapel when hit by sunlight, utilised collage for the initial design. This was in line with Paolozzi’s background as an originator of the Pop Art Movement. Elements of Pop Art, as well as Modernism, can be seen in the use of vertical and horizontal lines which lead the eye up towards the Heavens; lines were said by Mondrian to be imbued with a significant energy that aids the viewers spiritual journey of vision.

This painting displays rich, colourful symbolism associated with the fire prophet, Elijah. Painted in and gifted to the cathedral in 1976, the artist utilised both the Edinburgh skies and the deserts of Judea as inspiration. By its references to Old Testament prophecies, the artist’s aim was to bridge understanding between people of the Christian and Jewish faiths, in the hope that future relations between different facets of religion could be harmonious.