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Luca Signorelli, Doubting Thomas Italian, c. 1477-1482 Loreto, Basilica of the Santa Casa |
“Thomas, called Didymus, one of the Twelve, was not with them when Jesus came.So the other disciples said to him, “We have seen the Lord.”
But he said to them, “Unless I see the mark of the nails in his hands and put my finger into the nailmarks and put my hand into his side, I will not believe.”
Now a week later his disciples were again inside and Thomas was with them. Jesus came, although the doors were locked, and stood in their midst and said, “Peace be with you.”
Then he said to Thomas, “Put your finger here and see my hands, and bring your hand and put it into my side, and do not be unbelieving, but believe.”
Thomas answered and said to him, “My Lord and my God!”
Jesus said to him, “Have you come to believe because you have seen me? Blessed are those who have not seen and have believed.”
(John 20:24-29)
When I was a child I always waited with some excitement for the Sunday after Easter when this quotation from John is read as part of the Gospel of the day. For a child, or even for an adult, there is a certain “yuck factor” about the scene. And we know how kids (or adults) are drawn to that “yuck factor”. The idea of putting your hand into someone’s side is, well, yucky.
,%20c.%201493-1494_Paris,%20BNF_MS%20VELINS-906,%20fol.%20125r.jpg) |
| The Incredulity of Saint Thomas From Le Mirouer de la redemption de l'umain lignage French (Paris), c. 1493-1494 Paris, Bibliotheque nationale de France MS VELINS-906, fol. 125r |
But, of course, this episode was not included in John’s Gospel to give us the creeps. In the first place it underscores the bodily reality of the Resurrection. One of the things about ghosts is that you cannot touch them. As the ghost of Monseur de Sainte-Colombe’s wife tells him in a touching scene in the film Tous les matins du monde (1991) “You would only touch air.” So, the Risen Jesus’ invitation to Thomas underscores the reality of the Resurrection. He can be touched, His wounds can be probed with a finger or a hand. He is real, flesh and blood, NOT a ghost or an apparition resulting from passionate longing, like Madame de Sainte-Colombe.
Secondly, the Gospel underlines the future of the church, already known by the time John wrote his Gospel at the end of the first century. It would be a church filled with those “who have not seen and have believed” (John 20:29). And, that’s all of us during these nearly two thousand years.
During the last one thousand of those years numerous artists have imagined this moment. The images they have produced tend to fall into three separate iconographic types: (1) the moment of touch, (2) Thomas’ confession of belief, and (3) the insistence of Jesus. Though somewhat distinct types they interweave through time and every picture of the encounter between the Risen Jesus and Doubting Thomas has much in common.
Secondly, the Gospel underlines the future of the church, already known by the time John wrote his Gospel at the end of the first century. It would be a church filled with those “who have not seen and have believed” (John 20:29). And, that’s all of us during these nearly two thousand years.
During the last one thousand of those years numerous artists have imagined this moment. The images they have produced tend to fall into three separate iconographic types: (1) the moment of touch, (2) Thomas’ confession of belief, and (3) the insistence of Jesus. Though somewhat distinct types they interweave through time and every picture of the encounter between the Risen Jesus and Doubting Thomas has much in common.
The Moment of Touch
In what might be characterized as the "Moment of Touch" type, Thomas stands more or less on the same level of Jesus. The body of Jesus is posed in such a way that it presents a virtual invitation to Doubting Thomas to touch His wounds.,%20Middle%20of%20the%209th%20Century_Paris,%20BNF_MS%20Latin%209428,%20fol.%2066r.jpg) |
| The Incredulity of Saint Thomas From the Sacramentary of Drogo French (Metz), Middle of the 9th Century Paris, Bibliotheque nationale de France MS Latin 9428, fol. 66r |
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| Doubting Thomas From a Gradual German (Pruem), c. 986-1001 Paris, Bibliotheque nationale de France MS Latin 9448, fol. 43v |
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| The Risen Christ Appears to the Disciples and the Incredulity of Saint Thomas From the Gospel Book of Otto III German (Reichenau), c. 1000 Munich, Bayerisches Staatsbibliothek MS Clm 4453, fol. 251r |
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| The Incredulity of Saint Thomas From the Book of Pericopes of Saint Erintrud Austrian (Salzburg), 11th-12th Century Munich, Bayerisches Staatsbibliothek MS Clm 15903, fol. 49v |
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| Christ Appearing to the Disciples and Doubting Thomas from a New Testament French (North), 11th Century Paris, Bibliotheque nationale de France MS Arsenal 592, fol. 105 |
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| Doubting Thomas From a Lectionary Austrian (Salzburg), c. 1070-1090 New York, Pierpont Morgan Library MS M 780, fol. 39v |
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| Doubting Thomas From the Psalter of Christina of Markyate English (St. Alban's), c. 1124-1145 Hildesheim, Dombibliothek |
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| Ham of Fecamp, Doubting Thomas From a Psalter French (Normandy), c. 1180 The Hague, Koninklijk Bibliotheek MS KB 76 F 13, fol. 25r |
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| Doubting Thomas From a Picture Bible French (Saint-Omer), c. 1190-1200 The Hague, Koninklijk Bibliotheek MS KB 76 F 5, fol. 22v |
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| The Incredulity of Saint Thomas From the Munich Golden Psalter English (Oxford), c. 1200-1225 Munich, Bayerisches Staatsbibliothek MS Clm 835, fol. 28r |
,%20c.%2014th%20Century_Paris,%20BNF_MS%20Grec%201128,%20fol.%2038v.jpg) |
| The Incredulity of Thomas From a Life of Barlaam and Joasaph Byzantine (Greek), c. 14th Century Paris, Bibliotheque nationale de France MS Grec 1128, fol. 38v |
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| Anonymous, Doubting Thomas French, c. 1300-1350 Paris, Musée du Louvre |
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| Duccio. The Incredulity of Thomas Italian, c. 1308-1311 Siena, Museo dell'Opera del Duomo |
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| Tino di Camaino, Saint Thomas Probes Jesus' Wounds Italian, c. 1314-1317 Siena, Cathedral |
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| Giovanni Battista Bertucci the Elder, Doubting Thomas with a Donor Presented by Saint Anthony of Padua Italian, c. 1500-1515 London, National Gallery |
The Confession of Faith
In the second "type", which I am calling Thomas' "Confession of Faith", Saint Thomas is shown not only placing his finger into the wounds of Christ, but doing so while kneeling or at least shown with a knee bent, presumably on the way to fully kneeling. This is the visual rendering of the moment when Thomas says "My Lord and my God!" (John 20:28).
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| Ivory Plaque, Doubting Thomas German, c. 1140-1160 New York, Metropolitan Museum of Art |
,%20c.%201190-1200_Los%20Angeles,%20J.%20Paul%20Getty%20Museum_MS%20101,%20fol.%2089r.jpg) |
| Doubting Thomas From a Vita Christi English (East Anglia), c. 1190 Los Angeles, J. Paul Getty Museum MS 101, fol. 89 |
,%20c.%201285-1290_BNF_MS%20Nouvelle%20acquisition%20francaise%2016251,%20fol.%2047v_2.jpg) |
| Master Henri, Doubting Thomas From the Images du Christ et de la Vierge Belgian (Hainaut), c. 1285-1290 Paris, Bibliotheque nationale de France MS NAF 16251, fol. 47v |
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| Doubting Thomas From Sermons by Maurice de Sully Italian (Milan or Genoa), c. 1320-1330 Paris, Bibliotheque nationale de France MS Francais 187, fol. 13v |
,%20c.%201323-1326_Paris,%20BNF_MS%20Latin%2010483,%20fol.%20385r.jpg) |
| Jean Pucelle and Workshop, Doubting Thomas From a Gospel of John French (Paris), c. 1323-1326 Paris, Bibliotheque nationale de France MS Latin 10483, fol. 385r |
,%20c.%201350_Paris,%20BNF_MS%20Francais%209561,%20fol.%20187v.jpeg) |
| Doubting Thomas From a Vies de la Vierge et du Christ Italian (Naples), c. 1350 Paris, Bibliotheque nationale de France MS Francais 9561, fol. 187v |
,%20c.%201364-1370_Paris,%20BNF_MS%20Latin%201052,%20fol.%20300v.jpg) |
| Jean le Noir and Workshop From a Breviary French (Paris), c. 1364-1370 Paris, Bibliotheque nationale de France MS Latin 1052, fol. 300v |
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| Giovanni da Milano, Doubting Thomas Italian, c. 1365 Newark (DE), Alana Collection |
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| Jean Bondol and Others, Doubting Thomas From a Bible historiale by Guiard des Moulins French (Paris), c. 1372-1373 The Hague, Meermano Museum MS MMW 10 B 23, fol. 524v |
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| Giovanni di Benedetto and Workshop, The Incredulity of Saint Thomas From a Missal Italian (Milan), c. 1385-1390 Paris, Bibliotheque nationale de France MS Latin 757, fol. 364v |
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| Alabaster Relief English, Late 14th Century London, Victoria and Albert Museum |
,%20c.%201425=1450_Paris,%20bNF_MS%20Francais%20376,%20fol.%20226v.jpg) |
| The Incredulity of Saint Thomas From the Pelerinage de Jesus-Christ by Guillaume de Digulleville French (Rennes), c. 1425-1450 Paris, Bibliotheque nationale de France MS Francais 376, fol. 226v |
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| Berthold Furtmeyr, Incredulity of Saint Thomas From the Salzburger Missal German (Regensburg), c. 1478-1489 Munich, Bayerisches Staatsbibliothek MS Clm 15709, fol. 166v |
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| Verrocchio. Doubting Thomas Italian, c. 1476-1483 Florence, Orsanmichele |
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| Master of the A H. Monogram, Doubting Thomas French, c. 1505-1510 Lyon, Musée des Beaux-Arts |
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| Andrea Briosco, Incredulity of Saint Thomas Italian, c. 1520-1525 Vienna, Kunsthistorisches Museum, Kunstkammer |
The Insistent Jesus
From about the beginning of the thirteenth century some pictures began to appear in which Christ no longer simply offers His wounded side for Thomas' touch, but grasps his hand to guide it into the wound.
,%20c.%201225_Paris,%20BNF_MS-1186%20reserve,%20fol.%2026r_2a.jpg) |
| Doubting Thomas From the Psalter of St. Louis and Blanche of Castille French (Paris), c. 1225 Paris, Bibliotheque nationale de France MS 1186 reserve, fol. 26r (detail) |
,%20c.%201450-1460_The%20Hague,%20KB_MS%20KB%2076%20F%202,%20fol.%20254r.jpg) |
| Jean le Tavernier and Follower, The Incredulity of Saint Thomas From a Book of Hours Flemish (Oudenaarde), c. 1450-1460 The Hague, Koninklijk Bibliotheek MS KB 76 F 2, fol. 254r |
,%20c.%201430_The%20Hague,%20KB_MS%20KB%2078%20D%2038%20II,%20fol.%20198v.jpg) |
| Claes Brouwer, The Incredulity of Saint Thomas From a History Bible Dutch (Utrecht), c. 1430 The Hague, Koninklijk Bibliotheek MS KB 78 D 38 II, fol. 198v |
,%20c.%201480_Paris,%20BNF_MS%20Francais%20181,%20fol.%20161v.jpg) |
| Master of the Flemish Boethius, The Incredulity of Saint Thomas From a Bible Flemish (Ghent), c. 1480 Paris, Bibliotheque nationale de France MS Francais 181, fol. 161v |
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| Jean Colombe, Doubting Thomas From a Vita Jesu Christi by Ludolphe de Saxe French (Bourges), c. 1475-1500 Paris, Bibliotheque nationale de France MS Francais 179, fol. 186v |
The Renaissance and Beyond
In the Renaissance period and after artists have continued to imagine this events using all of these themes and adding reactions other than awe to the other disciples.
Sometimes the same artist used different "types" for different paintings, as did, for example, Cima da Conegliano.
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| Giovanni Battista Cima da Conegliano, Doubting Thomas Italian, c. 1502-1504 London, National Gallery |
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| Giovanni Battista Cima da Conegliano, Doubting Thomas with Bishop Magno Looking On Italian, c. 1503-1505 Venice, Gallerie dell'Accademia |
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| Francesco Salviati, Doubting Thomas Italian, c. 1543-1547 Paris, Musée du Louvre |
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| Simon de Chalons, Doubting Thomas French, c. 1550 Paris, Musée du Louvre |
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| Maerten de Vos, Doubting Thomas Flemish, 1574 Antwerp, Koninklijk Museum voor Schone Kunsten |
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| Leandro Bassano, Doubting Thomas Italian, c. 1592-1594 St. Petersburg, State Hermitage Museum |
Caravaggio Changes the Artistic Conversation
Probably the most famous image, as well as the most powerful, is the painting by Caravaggio. True to his aesthetic of edgy, unrefined chiaroscuro realism the scene is presented without any softening idealism. Caravaggio's Jesus rather matter-of-factly guides Thomas’ finger into the wound in his side with his left hand, on which we can see the nail hole. Thomas, meanwhile, demonstrates intense concentration, from his wrinkled brow to the straining muscles in this neck. And, his expression is mirrored in the faces of two other disciples who are leaning in to watch.
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Caravaggio, Doubting Thomas Italian, c. 1601-1602 Potsdam, Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg, Sansouci Gemäldegalerie |
This image had an immediate impact on how this subject was presented and in the century after Caravaggio most painters took this image as the formative one for the subject, although most have not presented it with anything like this “in your face” intensity. Some presented it as an intense encounter between Jesus and Thomas, with perhaps a few onlookers, while others presented it as taking place in the midst of a room full of people.
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| Eugenio Cajes, The Incredulity of Saint Thomas Spanish, c. First Third of the 17th Century Madrid, Museo Nacional del Prado |
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Rubens, Doubting Thomas Flemish, c. 1613-1615 Antwerp, Koninklijk Museum voor Schone Kunsten |
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| Guercino, The Incredulity of Saint Thomas Italian, 1621 London, National Gallery |
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| Wouter Pietersz. II Crabeth, Doubting Thomas Dutch, c. 1626-1630 Amsterdam, Riijksmuseum |
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Rembrandt, Doubting Thomas Dutch, 1634 Moscow, The Pushkin Museum |
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| Simon Vouet, Doubting Thomas French, 1636 Lyon, Musée des Beaux-Arts |
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| Matthias Stom (or Stomer), Doubting Thomas Dutch, c. 1644-1649 Madrid, Museo Nacional del Prado |
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Some artists did experiment with alternate ways of presenting the story while retaining the Caravaggesque chiaroscuro style.
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| Anthony Van Dyck, Incredulity of Saint Thomas Flemish, c. 1625-1626 St. Petersburg, State Hermitage Museum |
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| Mattia Preti, Doubting Thomas Italian, c. 1656-1660 Vienna, Kunsthistorisches Museum |
By the eighteenth century the influence of Caravaggio's great painting had diminished and artists began to draw back from this intense focus on the central action to present a more generalized image. They also revert back to the "Confession of Faith" type, rarely used during the seventeenth century, in which Thomas kneels or begins to kneel.
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| Carlo Carlone, Doubting Thomas Italian, c. 1750 Vienna, Belvedere Museum |
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| Franz Georg Hermann the Younger, The Incredulity of Saint Thomas German, 1762 Ettal, Abbey Church of the Assumption |
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| Franz Anton Maulbertsch, Doubting Thomas Austrian, c.1764 Vienna, Belvedere Museum |
The nineteenth century saw a return to clarity and simplicity in the same mode as the Medieval and early Renaissance images. They also seem to have favored the Confession of Faith type of composition, where Thomas is shown kneeling.
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| Paul Baudry, Doubting Thomas French, 1850 La Roche-sur-Yon, Musée municipal |
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| Max Ritter von Widnmann, The Incredulity of Saint Thomas German, 1863 Munich, Cathedral of Our Lady |
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| James Tissot, Doubting Thomas French, c. 1886-1894 New York, Brooklyn Museum Tissot has added a new element to this work. In all the previous images the wounds of Jesus appear naturalisticly, as open wounds. Here Tissot has shown them as glowing star-like marks on the feet, hands and side. |
© M. Duffy, 2011, amended 2017, edited with new visual material 2024.
Excerpts
from the Lectionary for Mass for Use in the Dioceses of
the United States of America, second typical edition © 2001,
1998, 1997, 1986, 1970 Confraternity of Christian Doctrine, Inc., Washington,
DC. Used with permission. All rights reserved. No portion of this text may be
reproduced by any means without permission in writing from the copyright owner.
