When standing before the altar, the painting on the viewer’s left (Golgotha I, or The Saints) depicts several figures, including Mary, John the Beloved, Mary of Clopas, Mary Magdalene, St. Dismas (the penitent thief), and a Roman soldier. The painting on the viewer’s right (Golgotha II, or The Sinners) depicts a Pharisee, the impenitent thief, and a soldier clutching Jesus’ garment. Various other figures are included: some are turned away while others are quietly contemplative. A tree, shrubs, and hyssop plants sprout from rocky ground. In the distance, the faint city of Jerusalem glows in the dusky light. Further still are mountains and dark clouds.

Primarily, the work is inspired by the scene of the crucifixion as relayed in the Gospels of Matthew, Mark, Luke, and John. Contextually, the work is inspired by altar paintings used in traditional Catholic architecture.

Positionally, The Saints is located to Jesus’ right hand, while The Sinners is located to His left. The intentional placement of the faithful– Mary, John, Magdalene, and more– emphasize their special place of honor at His right hand in accordance with the Bible. (Mark 16:19, Luke 22:69, Matthew 22:44 and 26:64, Acts 2:34 and 7:55, 1 Peter 3:22, Psalms 63:8 and 110:1). On the other hand (quite literally, in this case) are the figures within The Sinners. The location of both paintings relative to Jesus symbolizes the parable of The Sheep and the Goats. Those present as His crucifixion have been separated accordingly.

In The Saints, hyssop is present in the lower foreground. This plant was specifically mentioned during the Passion and Crucifixion (John 19:29) but is mentioned throughout the Bible in relation to the ceremonial cleansing of sin and the sacrifice at Passover. Mary has 12 stars in her halo (Revelation 12:1) and crushes a serpent (Genesis 3:15). St. John’s iris has a glimmer of red, foreshadowing his eventual authorship of Revelation. As a contrast to the scornful Pharisees depicted in The Sinners, John’s hands are positioned in prayerful surrender. The Roman has removed his helmet in a show of respect. As we naturally read left to right, the painting gets brighter as it grows more proximal to Christ’s presence in the Eucharist, giving a feeling of hope.

In The Sinners, the judgmental crowds are rightfully positioned to Christ’s left hand. The Pharisees direct their gaze towards Christ at the altar, while others walk away. The soldier who cast lots for His garment makes away in the shadows. One man turns away from Him, reaching for coins in the dirt instead. As our eyes move from left to right, our focus settles on the dark clouds beyond the hills. Adam’s skull is in the right foreground here at Golgotha, the place of the skull.

Within the triptych, the light source is the Eucharist between the two paintings: God Himself casts the light on the figures. (John 1:5). As a whole entity, the paintings are therefore not a static snapshot of a historical event; rather, they participate alongside us, bringing us right to Golgotha over 2000 years ago in a realistic and somber way.